2) Tonal-modal mixed forms of harmony:
Debussy, Bartòk, Messiaen and others.
This part of my course requires advanced knowledge of tonal-functional harmony. It also has a much more analytical character, which means that no exercises are included. The reason for this is that it deals with relatively unique historical phenomena that illustrate the personal style of the composers in question.
On the right (for mobile phones below) I list some non-tonal aspects of Debussy's, Bartok's and Messiaen's harmony (up to the 1950s) that you can go through with me. Of course, this selection can be extended to include other composers of the same period, such as Stravinsky, Skriabin, R. Strauss, Alois Hàba (harmonics in quarter tones) and others, all of whom offered their own specific harmonic solutions and inventions.
