Harmony 3 from various teachers – 30-hour module – CFA 4

Form: 30
CFA: 4
Teachers: Pierpaolo Principato, Claudio Ricci, Antonio Solimene, Andrea Avena, and Vincenzo Presta
Frequency: Weekly
Entry Requirements: Harmony 2 or Entrance Exam
Class size: 15 students
Places available: 6
Limitations: Open to students in the academic courses of sound technician or electronic music. Also open to students as a personalized course for an additional fee (for information on costs, contact the Educational Secretariat).


  1. Harmonic progressions (in the Jazz and Popular area)
  2. General introduction to the extensions of the agreements (9a, 11a, 13a)
  3. The 9a agreements (major, minor, increased) – Possibilities and methods of use based on to the quality of the agreement (Maj7, M6, 7, min7) – The 4-part voicings in a fundamental state (distance between the parts, omissions, positioning of the extension) – Voicings with obligatory “Top Note” – Notes on relative implications a function and tone of the chord – Harmonic links with the use of the 9th: progressions, II VI, Turn Arounds – Criteria for the application and renunciation of the “Harmonic Bond”
  4. The 11th agreements (G. and Aug.) – See details of the previous point concerning 9e – Harmonic connections with the use of 9e and 11e
  5. The 13th (major and minor) chords – See details of the previous points related to 9e and 11e – Harmonic links with the use of 9e, 11e and 13e
  6. Relationship between modes and the relative agreement: – Extensions compatible (summary) – The “Avoid Notes”
  7. The harmonic substitutions: – Diatonic substitutions (similarities) – The Tritone substitution and the relative scale
  8. The modulation: – Direct modulation – Modulation with common agreements
  9. The dominant secondary (not extended): – Characteristics and practicability – Difference between modulating passage and real modulation
  10. Notes on the extensions related to “Secondary Dominants”
  11. Application of the tritone substitution to the secondary dominants – Elaboration of the “Turn Around” with the studied techniques (secondary dominants and substitutions)
  12. Harmonic analysis in major key with the contents studied up until now
  13. Melody harmonization techniques based on abbreviations and data theme (4 total parts) in major key
  14. Construction of the seventh chords on the degrees of the minor harmonic scale (review and deepening) and melodic
  15. Minor tone : comparison between the seventh chords of all minor scales and considerations on their use
  16. Succession in minor key: – Turn Around in minor and other successions – chromatic movements of the 7th and 5th on the agreements of I and IV degree
  17. Harmonic analysis of the minor key pieces
  18. Criteria for choosing and using the extensions (9a, 11a, 13a) for the chords of the minor key
  19. The modes of the minor harmonic scales (construction techniques)
  20. The Modes of the minor scales melodic (construction techniques)
  21. The “Blues”: more elaborate harmonic structure. Extensions in the Blues agreements



  • Avena, “Teoria & Armonia” 2nd / 3rd part
  • Keith Wyatt & Carl Schroder, “Harmony & Theory”
  • Phil De Greg, “Jazz Keyboard Harmony”
  • M. Levine, “The Jazz Theory Book”


Written Exam