9780697354877

Designed for undergraduate music majors,Harmony in Contextprovides 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.

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

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Harmony in Context

Harmony in Context

0697354873

Summary

Table of Contents

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

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

Chapter 25 Modulation to Distantly Related Keys II

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