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Harmony and Voice Leading

ISBN-10: 0155062425
ISBN-13: 9780155062429
Edition: 3rd 2003 (Revised)
List price: $306.95
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Description: A comprehensive volume spanning the entire theory course, HARMONY AND VOICE LEADING begins with coverage of basic concepts of theory and harmony, and moves into coverage of advanced dissonance and chromaticism. It emphasizes the linear aspects of  More...

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Book details

List price: $306.95
Edition: 3rd
Copyright year: 2003
Publisher: Wadsworth
Publication date: 8/13/2002
Binding: Hardcover
Pages: 672
Size: 7.75" wide x 9.25" long x 1.25" tall
Weight: 2.992
Language: English

A comprehensive volume spanning the entire theory course, HARMONY AND VOICE LEADING begins with coverage of basic concepts of theory and harmony, and moves into coverage of advanced dissonance and chromaticism. It emphasizes the linear aspects of music as much as the harmonic, and introduces large-scale progressions--linear and harmonic--at an early stage. The first three Units of the book are designed to be taught sequentially, but instructors have the flexibility to teach the latter units in any combination and order they choose.

Clare Tufts received her PhD in French literature from the University of North Carolina at Chapel Hill in 1981. She is the professor of the Practice of Romance Studies and director of the French Language Program at Duke University. She has published articles on language acquisition and pedagogy, the modern political theatre in France, Alfred Jarry, and political propaganda in French cartoons. In 1990, her computer tutorial Micro-Review in French was published by Holt, Rinehart and Winston. Professor Tufts's research interests include second-language acquisition, modern French theatre, and popular culture.Edward Aldwell received his bachelor's and master's degrees from The Juilliard School where he studied piano with Adele Marcus. He studied theory and analysis privately with Carl Schachter and later with Ernst Oster. He has been a member of the Techniques of Music department at Mannes since 1969 and a member of the piano department since 1973. He has taught theory at The Curtis Institute of Music since 1971 and is currently Chairperson of the theory department. He has given recitals and master classes throughout the United States as well as in Israel, England and Germany, many of them devoted to the works of Bach. Recordings include both books of THE WELL-TEMPERED CLAVIER, GOLDBERG VARIATIONS and FRENCH SUITES OF BACH, as well as works of Hindemith and Faure.

The late Felix Salzer was a Professor at Queens College, City University of New York, and the author of Structural Hearing. Carl Schachter is a Professor at Queens College and at the Mannes School of Music and is the author of many essays on music theory.

Preface
The Primary Materials and Procedures
Key, Scales, and Modes
Tonal Relationships; Major Keys
Minor Keys; Modes; Tonality
Exercises
Intervals
Recognizing and Constructing Intervals
The Overtone Series
Consonance and Dissonance
Intervals in a Key
Exercises
Rhythm and Meter
Rhythmic Organization
Rhythm and Dissonance Treatment
Exercises
Triads and Seventh Chords
Triads
Seventh Chords
Texture and Structure
Exercises
Procedures of Four-Part Writing
Chord Construction
Voice Leading
Points for Review
Exercises
I-V-I and Its Elaborations
I, V, and V[superscript 7]
Tonic and Dominant
I-V-I in Four Parts
The Dominant Seventh
Points for Review
Exercises
I[superscript 6], V[superscript 6], and VII[superscript 6]
I[superscript 6] and V[superscript 6]
VII[superscript 6] (Leading-Tone Triad)
Points for Review
Exercises
Inversions of V[superscript 7]
V[superscript 6 subscript 5], V[superscript 4 subscript 3], and V[superscript 4 subscript 2]
Contrapuntal Expansions of Tonic and Dominant
Points for Review
Exercises
Leading to V: IV, II, and II[superscript 6]
Intermediate Harmonies
IV and II in Contrapuntal Progressions
Expansions of II and IV
Harmonic Syntax; Rhythmic Implications
Points for Review
Exercises
The Cadential 6/4
An Intensification of V
Points for Review
Exercises
VI and IV[superscript 6]
Uses of VI
Uses of IV[superscript 6]
Points for Review
Exercises
Supertonic and Subdominant Seventh Chords
Supertonic Seventh Chords
Subdominant Seventh Chords
Points for Review
Exercises
Other Uses of IV, IV[superscript 6], and VI
IV and IV[superscript 6]
VI
Summary of Cadences
Points for Review
Exercises
V as a Key Area
Tonicization and Modulation
Applications to Written Work
Points for Review
Exercises
III and VII
Uses of III
Uses of VII
Points for Review
Exercises
5/3, 6/3, and 6/4 Techniques
5/3-Chord Techniques
Progressions by 5ths and 3rds
Contrapuntal Chord Functions
V as a Minor Triad
Points for Review
Exercises
Diatonic Sequences
Compositional Functions
Sequences with Descending 5ths
Sequences with Ascending 5ths
Sequences Using the Ascending 5-6 Technique
Sequences Falling in 3rds (Descending 5-6)
Less Frequent Sequential Patterns
Sequences Leading to Tonicized V
Sequences in Minor
Points for Review
Exercises
6/3-Chord Techniques
6/3 Chords in Parallel Motion
Other Uses of 6/3 Chords
Points for Review
Exercises
6/4-Chord Techniques
Dissonant 6/4 Chords
Special Treatment of Cadential 6/4 Chords
Consonant 6/4 Chords
Some Special Cases
Points for Review
Exercises
Elements of Figuration
Melodic Figuration
Chordal Skips (Arpeggios)
Passing and Neighboring Tones
Points for Review
Exercises
Rhythmic Figuration
Suspensions
Anticipations
The Pedal Point
Points for Review
Exercises
Dissonance and Chromaticism I
Leading-Tone Seventh Chords
The Diminished Seventh Chord
The Half-Diminished Seventh Chord
Points for Review
Exercises
Mixture
Combining Modes
Points for Review
Exercises
Remaining Uses of Seventh Chords
Seventh Chords in Sequence
Expanded Treatment of Seventh Chords
Apparent Seventh Chords
Points for Review
Exercises
Applied V and VII
Applied Chords
Chords Applied to V
Other Applied Chords
Applied Chords in Sequence
Points for Review
Exercises
Diatonic Modulation
Modulatory Techniques
Modulation, Large-Scale Motion, and Form
Points for Review
Exercises
Dissonance and Chromaticism II
Seventh Chords with Added Dissonance
Ninths
"Elevenths" and "Thirteenths"
Points for Review
Exercises
The Phrygian II (Neapolitan)
A Chord Leading to V
Other Uses of [musical flat]II
Chromatic Notation
Points for Review
Exercises
Augmented Sixth Chords
A Chromatic Preparation for V
Approaching Augmented Sixth Chords
Details of Voice Leading
Augmented Sixths and Modulation
"Inversions" of Augmented Sixth Chords
Motion to Applied Dominants and Nondominant Chords
German Sixth and Dominant Seventh
Points for Review
Exercises
Other Chromatic Chords
Advanced Uses of Mixture
Augmented Triads
Altered Dominant Seventh Chords
Common-Tone Diminished Seventh Chords
Other Chromatic Embellishing Chords
Points for Review
Exercises
Chromatic Voice-Leading Techniques
Chromaticism Based on Parallel Motion
Chromaticism Based on Contrary Motion
Equal Divisions of the Octave
Points for Review
Exercises
Chromaticism in Larger Contexts
New Modulatory Techniques
Chromatic Tonal Areas
Points for Review
Exercises
Keyboard Progressions
Score Reduction
Index of Musical Examples
Subject Index

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