Harmony in Context

ISBN-10: 0073137944
ISBN-13: 9780073137940
Edition: 2nd 2011
List price: $245.33 Buy it from $164.95
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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.  More...

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Book details

List price: $245.33
Edition: 2nd
Copyright year: 2011
Publisher: McGraw-Hill Companies, The
Publication date: 1/19/2010
Binding: Hardcover
Pages: 800
Size: 8.25" wide x 9.25" long x 1.25" tall
Weight: 4.158
Language: English

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 texts 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
Pitch: Notation and Intervals
The Notation of Pitch
Intervals
Consonant and Dissonant Intervals
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
Tonality: Scales and Keys
Modes and Scales
Key Signatures
Other Modes and Scales
The Rudiments of Harmony I: Triads and Seventh Chords
Chords
Triads
Seventh Chords
The Rudiments of Harmony II: Labeling Chords. Musical Texture
Harmonic Function, Roman Numerals
Figured Bass
Musical Texture
Introduction 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)
Diatonic Harmony
The 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?
The 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
Harmonic 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
Triads 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
The 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
Nonchord Tones
The Passing Tone
The Neighbor Note
The Anticipation
Incomplete Neighbors
Voice-Leading Guidelines
Suspensions
Pedal Point
6/4 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
The 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
The 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
Cadences
Authentic Cadences
The Half Cadence
The Plagal Cadence
The Deceptive Cadence
Cadences: Summary and Voice Leading
Pitch Patterns
Melodic Organization I: Phrase Structure
Motive
Phrase
Period Structure
Form Diagrams
More on Period Structure
Phrase Group
Melodic Organization II: Thematic
Development; Phrase Extension
Melodic Developmental Techniques
Phrase Extension
Harmonic Rhythm; Metric Reduction
Harmonic Rhythm
Metric Reduction
Metric Reduction and Performance
Compound Melody
Writing Your Own Progresisons
The 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
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
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns
Harmonic 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
Chromatic Harmony and Form
Secondary 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
Secondary 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
Secondary 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
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
Chromatic Modulation: Chromatic Pivot Chords
Writing Chromatic Modulations
Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods
Harmonizing Modulating Melodies
Pitch Patterns
Small Forms: Binary and Ternary; Variation Forms
The Binary Principle
Binary Tonal Types
Binary Formal Designs
The Ternary Principle
Variation Forms
Continuous Variations
Sectional Variations
Contrapuntal 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
Modal 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
The 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
Augmented 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
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
Modulation by enharmonic reinterpretation of viio7
Writing Modulation with viio7 Chords
Pitch Patterns
Modulation 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
Introduction 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
Expanding 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
The German Romantic Lied: Chromatic Harmony in Context
The German Romantic Lied
Schubert, Erlkonig
Schumann, "Widmung"
Modulation by Enharmonic Reinterpretation of V+
Wolf, "Das Verlassene Magdlein"
Pitch Patterns
Toward (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
Appendix Transposing Instruments
Subject Index
Musical Example Index

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