Full Description
Designed for undergraduate music majors, "Harmony in Context" provides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and anthology encompass a wide variety of different composers and repertoires. Students will particularly appreciate the clarity of the presentation and the attractiveness of the text's layout, both of which enable a smooth progression through the material.
Contents
Preface A Message to the Student: Why Do We Study Music Theory? INTRODUCTION: THE FUNDAMENTALS OF MUSIC Chapter A Pitch: Notation and Intervals The notation of pitch; intervals; the overtone series; consonant and dissonant intervals Chapter B Rhythm 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 C Tonality: Scales, Keys, and Transposition Modes and scales; key signatures; other modes and scales; transposition: related issues Chapter D Introduction to Species Counterpoint The melodic line in species counterpoint; general guidelines for two-part counterpoint; first species; second species; fourth species Chapter E The Rudiments of Harmony I: Triads and Seventh Chords Chords; triads; seventh chords Chapter F The Rudiments of Harmony II: Labeling Chords Harmonic function, Roman numerals; figured bass; Chapter G Musical Style The elements of style; the musical style periods; A characteristic Renaissance style: sacred vocal polyphony; the Baroque style; the Classical style; the Romantic style; the twentieth century; conclusions 1: DIATONIC HARMONY Chapter 1 The Connection of Chords Harmonic progression; notating, voicing, and spacing chords; chord connection: the principles of part writing; melodic style; voice independence; why all these rules? Chapter 2 The Tonic and Dominant Triads in Root Position The tonic triad; the dominant triad; the I-V-I progression: the principles of prolongation; connecting the tonic and dominant chords; the I-V-I progression as a form-generating structure Chapter 3 Harmonic Function; the Subdominant Triad in Root Position The basic harmonic functions; the subdominant triad; IV as prolongation of I; elaborating the I-V-I progression Chapter 4 Texture; Triads in First Inversion Texture; the triad in first inversion; the neighbor V6; elaborating the I-V-I progression; parallel 6/3 chords; harmonizing a melody Chapter 5 Cadences Authentic cadences; the half cadence; the plagal cadence; the deceptive cadence; cadences :summary and voice leading Chapter 6 Melodic Organization I: Phrase Structure Motive; phrase; period structure; form diagrams; bass reductions; more on period structure; phrase group; the technique of interruption Chapter 7 Melodic Organization II: Thematic Development; Phrase Extension; Formal Functions Melodic developmental techniques; phrase extension; extending period structures; introduction to formal functions; thematic development in developmental sections Chapter 8 Nonchord Tones The passing tone; the neighbor note; the anticipation; incomplete neighbors; suspensions; pedal point Chapter 9. 6/4 Chords. Consonant 6/4 chords; dissonant 6/4 chords; the neighbor 6/4; compound melody; the passing 6/4; the cadential 6/4; harmonizing melodies with 6/4 chords; pitch patterns Chapter 10 The Supertonic; Metric Reduction The supertonic in root position; the supertonic in first inversion; the supertonic and the cadential 6/4; metric reduction; pitch patterns Chapter 11 Harmonic Rhythm. Hypermeter Harmonic rhythm; hypermeter; harmony, rhythm, and meter: tonal and metric accents; metric-harmonic "rhyme" and conflict; writing your own progressions; harmonizing a melody with keyboard figuration Chapter 12 The Dominant Seventh and Its Inversions V7 in root position; inversions of the dominant seventh; combining prolongational chords Chapter 13 The Leading-Tone Triad Doubling and voice leading; the passing viio6; viio6 as a dominant substitute; the leading-tone cadence; Chapter 14 The Mediant, Submediant, and Subtonic Triads; Diatonic Sequences The mediant and submediant triads; the subtonic; other uses of the mediant and submediant; harmonic sequences; more on the 5-6 technique; pitch patterns Chapter 15 Other 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; the diatonic-seventh circle of 5ths; pitch patterns Appendix to Part 1. Summary and Application: Diatonic Harmony in Context; Diatonic Functions and Performance 2: CHROMATIC HARMONY AND FORM Chapter 16 Secondary Dominants I Chromatic harmony; tonicization: secondary dominants; V7 of V; V7 of IV (iv); elaborating a diatonic framework with chromatic harmony; pitch patterns Chapter 17 Secondary Dominants II V7 of ii; V7 of vi (VI); V7 of iii (III); V7 of VII; deceptive resolutions of secondary dominants; consecutive secondary dominants: chromatic sequences; secondary key areas; pitch patterns Chapter 18 Secondary Leading-Tone Chords Secondary leading-tone seventh chords; secondary viio7 chords in inversion; the viio7 over a pedal point; a chromatic harmonization of a diatonic tune: Bach Chorale 21; secondary functions in context: two songs by Mozart; pitch patterns Chapter 19 Modulation 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; modulation to ii and iii from a major key; chromatic modulation; writing chromatic modulations; modulation to VII in minor; modulation and phrase structure: sequential and phrase modulation, modulating periods; modulatory processes; harmonizing modulating melodies; pitch patterns Chapter 20 Small Forms: Binary and Ternary The binary principle; binary tonal types; binary formal designs; the ternary principle Chapter 21 Contrapuntal Genres The chorale prelude; the two-voice invention; Bach: Invention no. 3, in DM; the fugue; the fugato Chapter 22 Modal Mixture. Variation Forms Change of mode; borrowed chords; variation forms; continuous variations; sectional variations; pitch patterns Chapter 23 The Neapolitan and Augmented Sixth Chords The Neapolitan Sixth; tonicization of the Neapolitan; the Neapolitan in root position; tritone substitution: the Neapolitan as a substitute for V7; augmented sixth chords with a predominant function; the Italian +6; the German +6; the French +6; other types of +6 chords; summary Chapter 24 Chromatic 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; the Neapolitan as a key area; modulation by enharmonic reinterpretation of viio7; writing modulations with viio7 chords; chromatic linear modulatory processes; pitch patterns Chapter 25 Modulation to Distantly Related Keys II Chromatic-third relationships; triads related by chromatic third; keys related by chromatic third: common-tone modulation; chromatic-third relationships in modulatory processes; 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 26 Introduction to Large Forms Sonata Form; Mozart, Piano Sonata in CM, K. 309, I; guided studies of sonata form; the Rondo; a five-part rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III; guided studies of rondo form Chapter 27 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II Expanding chordal sonorities: extended tertian chords; A Fragment by William Grant Still; linear chromaticism II: linear expansions of tonality; appoggiatura chords; chromatic sequences; non-sequential linear processes; pitch patterns Chapter 28 The 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": a summary of chromatic functions; pitch patterns Chapter 29 Toward (And Beyond) the Limits of Functional Tonality Tonal ambiguity and implied tonality; equal divisions of the octave; beyond the confines of functional tonality; pitch patterns Chapter 30 Non-Functional Pitch Centricity Parsimonious voice-leading: the PLR model; alternatives to chromaticism: non-functional diatonic collections; symmetrical scales; conclusions, pitch patternstch patternstch patternstch patternstch patterns
