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Harmony in Context

Harmony in Context

ISBN 9780073137940
Edition 2
Publication Date
Publisher Mc GrawHill
Author(s)
This product has been discontinued.
Overview
Preface A Message to the Student: Why Do We Study Music Theory?

Introduction: The Fundamentals of Music

Chapter APitch: Notation and Intervals The Notation of Pitch; Intervals; Consonant and Dissonant Intervals

Chapter BRhythm and Meter Durational Symbols; Pulse, Beat, and Meter; Tempo; Simple and Compound Meters; The Notation of Meter; Metric Accent; Choosing a Meter to Notate a Melody; Asymmetrical Meters; Irregular Divisions of the Beat; Irregular Rhythmic and Metric Relationships; Some Notes on the Correct Notation of Rhythm

Chapter CTonality: Scales and Keys Modes and Scales; Key Signatures; Other Modes and Scales;

Chapter DThe Rudiments of Harmony I: Triads and Seventh Chords Chords; Triads; Seventh Chords;

Chapter EThe Rudiments of Harmony II: Labeling Chords. Musical Texture Harmonic Function, Roman Numerals; Figured Bass; Musical Texture;

Chapter FIntroduction to Species Counterpoint The Melodic Line in Species Counterpoint; General Guidelines for Two-part Counterpoint; First Species (1:1); Second Species (2:1); Third Species (4:1); Fourth Species (Syncopated);

Part I: Diatonic Harmony

Chapter 1The Connection of Chords Harmonic Progression; Notating, Voicing, and Spacing Chords; Chord Connection: the Principles of Part-writing; Voice-leading Guidelines for the Three Basic Types of Progressions; Melodic Style; Voice Independence; Why All These Rules?

Chapter 2The Tonic and Dominant Triads in Root Position The Tonic Triad; The Dominant Triad; The I-V-I Progression; Characteristic Soprano-Bass Patterns; The I-V-I Progression as a Form-generating Structure; Pitch Patterns

Chapter 3Harmonic Function; the Subdominant Triad in Root Position The Basic Harmonic Functions; The Subdominant Triad; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; A Model to Elaborate the Fundamental Progression; Pitch Patterns

Chapter 4Triads in First Inversion The Triad in First Inversion: Uses and Function; The Neighbor V6; Elaborating the I-V-I Progression; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 5The Supertonic: Melody Harmonization The Supertonic in Root Position; The Supertonic in First Inversion; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Harmonizing a Melody; Pitch Patterns

Chapter 6Nonchord Tones The Passing Tone; The Neighbor Note; The Anticipation; Incomplete Neighbors; Voice-Leading Guidelines; Suspensions; Pedal Point

Chapter 76/4 Chords Consonant 6/4 Chords: The Arpeggiated 6/4; Dissonant 6/4 Chords; The Neighbor 6/4; The Passing 6/4; The Cadential 6/4; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 8The Dominant Seventh and Its Inversions V7 in root position; Inversions of the Dominant Seventh; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 9The Leading-Tone Triad Doubling and Voice Leading; The Passing viio6; viio6 as a Dominant Substitute; The Leading-Tone Cadence; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 10Cadences Authentic Cadences; The Half Cadence; The Plagal Cadence; The Deceptive Cadence; Cadences: Summary and Voice Leading; Pitch Patterns

Chapter 11Melodic Organization I: Phrase Structure Motive; Phrase; Period Structure; Form Diagrams; More on Period Structure; Phrase Group

Chapter 12Melodic Organization II: Thematic Development; Phrase Extension; Melodic Developmental Techniques; Phrase Extension

Chapter 13Harmonic Rhythm; Metric Reduction Harmonic Rhythm; Metric Reduction; Metric Reduction and Performance; Compound Melody; Writing Your Own Progresisons;

Chapter 14The Mediant, Submediant, and Subtonic Triads The Mediant and Submediant Triads as Prolongations of the Tonic; Other Uses of the Mediant and Submediant; Voice-Leading Guidelines; The Subtonic; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Harmonizing a Melody with Keyboard Figuration; Pitch Patterns

Chapter 15Other Diatonic Seventh Chords General Doubling and Voice-Leading Guidelines; The Leading-Tone Sevenths; The Half-Diminished Seventh; The Fully-Diminished Seventh; The Supertonic Seventh; The Subdominant Seventh; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 16Harmonic Sequences The Descending Circle-of-5ths Sequence; The Ascending Circle-of-5ths Sequence; Sequences by Descending 3rds; Sequences by Descending and Ascending Steps; A Summary of Harmonic Sequences: Elaborating the I-V-I Progression; Pitch Patterns

Part II: Chromatic Harmony and Form

Chapter 17Secondary Dominants I Chromatic Harmony; Tonicization: Secondary Dominants; Spelling Secondary Dominants; V7 of V; Voice-Leading Guidelines; V7 of IV (iv); Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 18Secondary Dominants II V7 of ii; V7 of vi (VI); V7 of iii (III); V7 of VII; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Deceptive Resolutions of Secondary Dominants; Sequences with Secondary Dominants; Secondary Key Areas; Pitch Patterns

Chapter 19Secondary Leading-Tone Chords Secondary Leading-tone Seventh Chords; Secondary viio7 Chords in Inversion; The viio7 Over a Pedal Point; Elaborating the I-V-I Progression; A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21; Secondary Functions in Context: Two Songs by Mozart Pitch Patterns

Chapter 20Modulation to Closely-Related Keys Key Relationships: Closely-Related Keys; Diatonic Pivot-Chord Modulation; Modulation to V; Modulation to the Relative Major and Minor Keys; Writing Pivot Chord Modulations; Chromatic Modulation: Chromatic Pivot Chords; Writing Chromatic Modulations; Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods; Harmonizing Modulating Melodies; Pitch Patterns

Chapter 21Small Forms: Binary and Ternary; Variation Forms The Binary Principle; Binary Tonal Types; Binary Formal Designs; The Ternary Principle; Variation Forms; Continuous Variations; Sectional Variations

Chapter 22Contrapuntal Genres The Two-Voice Invention; Bach: Invention no. 3, in DM; The Fugue; Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I; Some Additional Fugal Techniques; The Fugato

Chapter 23Modal Mixture Borrowing Chords from the Minor Mode in a Major Key; Borrowing Chords from the Major Mode in a Minor Key; Change of mode; Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression; Pitch Patterns

Chapter 24The Neapolitan Chord The Neapolitan Sixth; Tonicization of the Neapolitan; The Neapolitan in Root Position; Tritone Substitution: The Neapolitan as a Substitute for V7; Pitch Patterns

Chapter 25Augmented Sixth Chords General Features and Types of +6 Chords; The Italian +6; The German +6; The French +6; Other Types of +6 Chords; Summary; Tonal Relationship Between the Neapolitan and the +6 Chords; Pitch Patterns

Chapter 26Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I; Chromatic Pivot Chords; Writing Chromatic Pivot Chord Modulations; Modulation by Enharmonic Reinterpretation of the Gr +6; Writing Modulations with +6 Chords; Modulation by enharmonic reinterpretation of viio7; Writing Modulation with viio7 Chords; Pitch Patterns

Chapter 27Modulation to Distantly-Related Keys II; Linear Chromaticism I Chromatic Third Relationships; Triads Related by Chromatic Third; Keys related by Chromatic Third: Common Tone Modulation; Linear Chromaticism I: Linear Chromatic Chords; Altered triads; Augmented Sixth Chords with Dominant and Embellishing; Functions; The Common-Tone Diminished Seventh Chord; Pitch Patterns

Chapter 28Introduction to Large Forms Sonata Form; Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25); Guided Studies of Sonata Form; The Rondo; A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21); Guided Studies of Rondo Forms

Chapter 29Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II; Expanding Chordal Sonorities: Extended Tertian Chords; Linear Chromaticism II: Linear Expansions of Tonality; Appoggiatura Chords; Chromatic Sequences Revisited; Nonsequential Linear Processes; Pitch Patterns

Chapter 30The German Romantic Lied: Chromatic Harmony in Context The German Romantic Lied; Analysis 1: Schubert, Erlkonig; Analysis 2: Schumann, "Widmung"; Modulation by Enharmonic Reinterpretation of V+; Analysis 3: Wolf, "Das Verlassene Magdlein"; Pitch Patterns

Chapter 31Toward (and Beyond) the Limits of Functional Tonality Tonal Ambiguity and Implied Tonality; Equal Divisions of the Octave; Parsimonious Voice Leading: The PLR Model; Beyond the Confines of Functional Tonality; Pitch Patterns AppendixTransposing Instruments Subject Index Musical Example Index

Overview
Preface A Message to the Student: Why Do We Study Music Theory?

Introduction: The Fundamentals of Music

Chapter APitch: Notation and Intervals The Notation of Pitch; Intervals; Consonant and Dissonant Intervals

Chapter BRhythm and Meter Durational Symbols; Pulse, Beat, and Meter; Tempo; Simple and Compound Meters; The Notation of Meter; Metric Accent; Choosing a Meter to Notate a Melody; Asymmetrical Meters; Irregular Divisions of the Beat; Irregular Rhythmic and Metric Relationships; Some Notes on the Correct Notation of Rhythm

Chapter CTonality: Scales and Keys Modes and Scales; Key Signatures; Other Modes and Scales;

Chapter DThe Rudiments of Harmony I: Triads and Seventh Chords Chords; Triads; Seventh Chords;

Chapter EThe Rudiments of Harmony II: Labeling Chords. Musical Texture Harmonic Function, Roman Numerals; Figured Bass; Musical Texture;

Chapter FIntroduction to Species Counterpoint The Melodic Line in Species Counterpoint; General Guidelines for Two-part Counterpoint; First Species (1:1); Second Species (2:1); Third Species (4:1); Fourth Species (Syncopated);

Part I: Diatonic Harmony

Chapter 1The Connection of Chords Harmonic Progression; Notating, Voicing, and Spacing Chords; Chord Connection: the Principles of Part-writing; Voice-leading Guidelines for the Three Basic Types of Progressions; Melodic Style; Voice Independence; Why All These Rules?

Chapter 2The Tonic and Dominant Triads in Root Position The Tonic Triad; The Dominant Triad; The I-V-I Progression; Characteristic Soprano-Bass Patterns; The I-V-I Progression as a Form-generating Structure; Pitch Patterns

Chapter 3Harmonic Function; the Subdominant Triad in Root Position The Basic Harmonic Functions; The Subdominant Triad; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; A Model to Elaborate the Fundamental Progression; Pitch Patterns

Chapter 4Triads in First Inversion The Triad in First Inversion: Uses and Function; The Neighbor V6; Elaborating the I-V-I Progression; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 5The Supertonic: Melody Harmonization The Supertonic in Root Position; The Supertonic in First Inversion; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Harmonizing a Melody; Pitch Patterns

Chapter 6Nonchord Tones The Passing Tone; The Neighbor Note; The Anticipation; Incomplete Neighbors; Voice-Leading Guidelines; Suspensions; Pedal Point

Chapter 76/4 Chords Consonant 6/4 Chords: The Arpeggiated 6/4; Dissonant 6/4 Chords; The Neighbor 6/4; The Passing 6/4; The Cadential 6/4; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 8The Dominant Seventh and Its Inversions V7 in root position; Inversions of the Dominant Seventh; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 9The Leading-Tone Triad Doubling and Voice Leading; The Passing viio6; viio6 as a Dominant Substitute; The Leading-Tone Cadence; Voice-Leading Guidelines; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 10Cadences Authentic Cadences; The Half Cadence; The Plagal Cadence; The Deceptive Cadence; Cadences: Summary and Voice Leading; Pitch Patterns

Chapter 11Melodic Organization I: Phrase Structure Motive; Phrase; Period Structure; Form Diagrams; More on Period Structure; Phrase Group

Chapter 12Melodic Organization II: Thematic Development; Phrase Extension; Melodic Developmental Techniques; Phrase Extension

Chapter 13Harmonic Rhythm; Metric Reduction Harmonic Rhythm; Metric Reduction; Metric Reduction and Performance; Compound Melody; Writing Your Own Progresisons;

Chapter 14The Mediant, Submediant, and Subtonic Triads The Mediant and Submediant Triads as Prolongations of the Tonic; Other Uses of the Mediant and Submediant; Voice-Leading Guidelines; The Subtonic; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Harmonizing a Melody with Keyboard Figuration; Pitch Patterns

Chapter 15Other Diatonic Seventh Chords General Doubling and Voice-Leading Guidelines; The Leading-Tone Sevenths; The Half-Diminished Seventh; The Fully-Diminished Seventh; The Supertonic Seventh; The Subdominant Seventh; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 16Harmonic Sequences The Descending Circle-of-5ths Sequence; The Ascending Circle-of-5ths Sequence; Sequences by Descending 3rds; Sequences by Descending and Ascending Steps; A Summary of Harmonic Sequences: Elaborating the I-V-I Progression; Pitch Patterns

Part II: Chromatic Harmony and Form

Chapter 17Secondary Dominants I Chromatic Harmony; Tonicization: Secondary Dominants; Spelling Secondary Dominants; V7 of V; Voice-Leading Guidelines; V7 of IV (iv); Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Pitch Patterns

Chapter 18Secondary Dominants II V7 of ii; V7 of vi (VI); V7 of iii (III); V7 of VII; Characteristic Soprano-Bass Patterns; Elaborating the I-V-I Progression; Deceptive Resolutions of Secondary Dominants; Sequences with Secondary Dominants; Secondary Key Areas; Pitch Patterns

Chapter 19Secondary Leading-Tone Chords Secondary Leading-tone Seventh Chords; Secondary viio7 Chords in Inversion; The viio7 Over a Pedal Point; Elaborating the I-V-I Progression; A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21; Secondary Functions in Context: Two Songs by Mozart Pitch Patterns

Chapter 20Modulation to Closely-Related Keys Key Relationships: Closely-Related Keys; Diatonic Pivot-Chord Modulation; Modulation to V; Modulation to the Relative Major and Minor Keys; Writing Pivot Chord Modulations; Chromatic Modulation: Chromatic Pivot Chords; Writing Chromatic Modulations; Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods; Harmonizing Modulating Melodies; Pitch Patterns

Chapter 21Small Forms: Binary and Ternary; Variation Forms The Binary Principle; Binary Tonal Types; Binary Formal Designs; The Ternary Principle; Variation Forms; Continuous Variations; Sectional Variations

Chapter 22Contrapuntal Genres The Two-Voice Invention; Bach: Invention no. 3, in DM; The Fugue; Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I; Some Additional Fugal Techniques; The Fugato

Chapter 23Modal Mixture Borrowing Chords from the Minor Mode in a Major Key; Borrowing Chords from the Major Mode in a Minor Key; Change of mode; Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression; Pitch Patterns

Chapter 24The Neapolitan Chord The Neapolitan Sixth; Tonicization of the Neapolitan; The Neapolitan in Root Position; Tritone Substitution: The Neapolitan as a Substitute for V7; Pitch Patterns

Chapter 25Augmented Sixth Chords General Features and Types of +6 Chords; The Italian +6; The German +6; The French +6; Other Types of +6 Chords; Summary; Tonal Relationship Between the Neapolitan and the +6 Chords; Pitch Patterns

Chapter 26Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I; Chromatic Pivot Chords; Writing Chromatic Pivot Chord Modulations; Modulation by Enharmonic Reinterpretation of the Gr +6; Writing Modulations with +6 Chords; Modulation by enharmonic reinterpretation of viio7; Writing Modulation with viio7 Chords; Pitch Patterns

Chapter 27Modulation to Distantly-Related Keys II; Linear Chromaticism I Chromatic Third Relationships; Triads Related by Chromatic Third; Keys related by Chromatic Third: Common Tone Modulation; Linear Chromaticism I: Linear Chromatic Chords; Altered triads; Augmented Sixth Chords with Dominant and Embellishing; Functions; The Common-Tone Diminished Seventh Chord; Pitch Patterns

Chapter 28Introduction to Large Forms Sonata Form; Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25); Guided Studies of Sonata Form; The Rondo; A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21); Guided Studies of Rondo Forms

Chapter 29Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II; Expanding Chordal Sonorities: Extended Tertian Chords; Linear Chromaticism II: Linear Expansions of Tonality; Appoggiatura Chords; Chromatic Sequences Revisited; Nonsequential Linear Processes; Pitch Patterns

Chapter 30The German Romantic Lied: Chromatic Harmony in Context The German Romantic Lied; Analysis 1: Schubert, Erlkonig; Analysis 2: Schumann, "Widmung"; Modulation by Enharmonic Reinterpretation of V+; Analysis 3: Wolf, "Das Verlassene Magdlein"; Pitch Patterns

Chapter 31Toward (and Beyond) the Limits of Functional Tonality Tonal Ambiguity and Implied Tonality; Equal Divisions of the Octave; Parsimonious Voice Leading: The PLR Model; Beyond the Confines of Functional Tonality; Pitch Patterns AppendixTransposing Instruments Subject Index Musical Example Index

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