Harmony and Voice Leading

ISBN-10: 0155315196
ISBN-13: 9780155315198
Edition: 2nd 1988
List price: $98.95
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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: $98.95
Edition: 2nd
Copyright year: 1988
Publisher: Harcourt College Publishers
Publication date: 12/8/1988
Binding: Hardcover
Pages: 624
Size: 7.13" wide x 9.60" long x 1.21" tall
Weight: 2.310
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.

Prefacep. v
The Primary Materials and Procedures
Key, Scales, and Modesp. 3
Tonal Relationships; Major Keysp. 4
Minor Keys; Modes; Tonalityp. 14
Exercisesp. 20
Intervalsp. 22
Recognizing and Constructing Intervalsp. 22
The Overtone Seriesp. 25
Consonance and Dissonancep. 27
Intervals in a Keyp. 30
Exercisesp. 34
Rhythm and Meterp. 36
Rhythmic Organizationp. 36
Rhythm and Dissonance Treatmentp. 43
Exercisesp. 45
Triads and Seventh Chordsp. 47
Triadsp. 48
Seventh Chordsp. 56
Texture and Structurep. 59
Exercisesp. 61
Procedures of Four-Part Writingp. 63
Chord Constructionp. 63
Voice Leadingp. 69
Points for Reviewp. 77
Exercisesp. 77
I-V-I and its Elaborations
I, V, and V[superscript 7]p. 81
Tonic and Dominantp. 82
The Dominant Seventhp. 87
Points for Reviewp. 92
Exercisesp. 93
I[superscript 6], V[superscript 6], and VII[superscript 6]p. 95
I[superscript 6] and V[superscript 6]p. 95
VII[superscript 6] (Leading-Tone Triad)p. 101
Points for Reviewp. 106
Exercisesp. 106
Inversions of V[superscript 7]p. 110
V 6/5, V 4/3, and V 4/2p. 110
Contrapuntal Expansions of Tonic and Dominantp. 116
Points for Reviewp. 121
Exercisesp. 121
Leading to V: IV, II, and II[superscript 6]p. 123
Intermediate Harmoniesp. 123
IV and II in Contrapuntal Progressionsp. 130
Expansions of II and IVp. 132
Rhythmic Implicationsp. 136
Points for Reviewp. 138
Exercisesp. 138
The Cadential 6/4p. 140
An Intensification of Vp. 140
Points for Reviewp. 148
Exercisesp. 148
VI and IV[superscript 6]p. 150
Uses of VIp. 150
Uses of IV[superscript 6]p. 155
Points for Reviewp. 160
Exercisesp. 160
Supertonic and Subdominant Seventh Chordsp. 162
Supertonic Seventh Chordsp. 163
Subdominant Seventh Chordsp. 173
Points for Reviewp. 176
Exercisesp. 177
Other Uses of IV, IV[superscript 6], and VIp. 179
IV and IV[superscript 6]p. 179
VIp. 185
Points for Reviewp. 191
Exercisesp. 192
V as a Key Areap. 194
Tonicization and Modulationp. 195
Applications to Written Workp. 208
Points for Reviewp. 210
Exercisesp. 210
III and VIIp. 212
Uses of IIIp. 212
Uses of VIIp. 221
Points for Reviewp. 225
Exercisesp. 225
5/3, 6/3, and 6/4 Techniques
5/3-Chord Techniquesp. 231
Progressions by 5ths and 3rdsp. 231
Contrapuntal Chord Functionsp. 237
Points for Reviewp. 244
Exercisesp. 244
Diatonic Sequencesp. 246
Compositional Functionsp. 247
Sequences with Descending 5thsp. 250
Sequences with Ascending 5thsp. 253
Sequences Using the Ascending 5-6 Techniquep. 256
Sequences Falling in 3rds (Descending 5-6)p. 259
Less Frequent Sequential Patternsp. 261
Sequences in Minorp. 263
Points for Reviewp. 267
Exercisesp. 268
6/3-Chord Techniquesp. 270
6/3 Chords in Parallel Motionp. 271
Other Uses of 6/3 Chordsp. 276
Points for Reviewp. 282
Exercisesp. 282
6/4-Chord Techniquesp. 284
Dissonant 6/4 Chordsp. 286
Special Treatment of Cadential 6/4 Chordsp. 295
Consonant 6/4 Chordsp. 299
Some Exceptional Casesp. 301
Points for Reviewp. 303
Exercisesp. 304
Elements of Figuration
Melodic Figurationp. 309
Chordal Skips (Arpeggios)p. 311
Passing and Neighboring Tonesp. 314
Points for Reviewp. 324
Exercisesp. 325
Rhythmic Figurationp. 328
Suspensionsp. 328
Anticipationsp. 345
The Pedal Pointp. 348
Points for Reviewp. 350
Exercisesp. 351
Dissonance and Chromaticism I
Mixturep. 355
Combining Modesp. 355
Points for Reviewp. 365
Exercisesp. 366
Leading-Tone Seventh Chordsp. 367
The Diminished Seventh Chordp. 368
The Half-Diminished Seventh Chordp. 375
Points for Reviewp. 377
Exercisesp. 377
Remaining Uses of Seventh Chordsp. 379
Seventh Chords in Sequencep. 380
Expanded Treatment of Seventh Chordsp. 385
Apparent Seventh Chordsp. 390
Points for Reviewp. 394
Exercisesp. 394
Applied V and VIIp. 396
Applied Chordsp. 397
Chords Applied to Vp. 401
Other Applied Chordsp. 405
Applied Chords in Sequencep. 410
Points for Reviewp. 418
Exercisesp. 418
Diatonic Modulationp. 420
Modulatory Techniquesp. 420
Modulation, Large-Scale Motion, and Formp. 427
Points for Reviewp. 435
Exercisesp. 436
Dissonance and Chromaticism II
Seventh Chords with Added Dissonancep. 441
Ninthsp. 441
"Elevenths" and "Thirteenths"p. 449
Points for Reviewp. 454
Exercisesp. 454
The Phrygian II (Neapolitan)p. 456
A Chord Leading to Vp. 456
Other Uses of IIp. 468
Chromatic Notationp. 470
Points for Reviewp. 474
Exercisesp. 474
Augmented Sixth Chordsp. 477
A Chromatic Preparation for Vp. 478
Approaching Augmented Sixth Chordsp. 483
"Inversions" of Augmented Sixth Chordsp. 493
Motion to Goals Other Than Vp. 495
German Sixth and Dominant Seventhp. 497
Points for Reviewp. 500
Exercisesp. 500
Other Chromatic Chordsp. 503
Advanced Uses of Mixturep. 504
Augmented Triadsp. 510
Altered Dominant Seventh Chordsp. 514
Common-Tone Diminished Seventh Chordsp. 516
Other Chromatic Embellishing Chordsp. 519
Points for Reviewp. 521
Exercisesp. 521
Chromatic Voice-Leading Techniquesp. 523
Chromaticism Based on Parallel Motionp. 524
Chromaticism Based on Contrary Motionp. 535
Equal Subdivisions of the Octavep. 542
Points for Reviewp. 551
Exercisesp. 552
Chromaticism in Larger Contextsp. 555
New Modulatory Techniquesp. 555
Chromatic Tonal Areasp. 564
Points for Reviewp. 575
Exercisesp. 575
Keyboard Progressionsp. 579
Index of Musical Examplesp. 601
Subject Indexp. 607
Table of Contents provided by Syndetics. All Rights Reserved.

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