Harmony in Context

ISBN-10: 0697354873

ISBN-13: 9780697354877

Edition: 2003

List price: $121.56
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Book details

List price: $121.56
Copyright year: 2003
Publisher: McGraw-Hill Higher Education
Publication date: 1/1/2002
Binding: Hardcover
Pages: 944
Size: 8.25" wide x 9.25" long x 1.50" tall
Weight: 3.696
Language: English

A Message to the Student: Why Do We Study Music Theory?
Pitch: Notation and Intervals
The notation of pitch
the overtone series
consonant and dissonant intervals
Rhythm and Meter
Durational symbols
pulse, beat, and meter
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, Keys, and Transposition
Modes and scales
key signatures
other modes and scales
transposition: related issues
Introduction to Species Counterpoint
The melodic line in species counterpoint
general guidelines for two-part counterpoint
first species
second species
fourth species
The Rudiments of Harmony I: Triads and Seventh Chords
seventh chords
The Rudiments of Harmony II: Labeling Chords
Harmonic function, Roman numerals
figured bass
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
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?
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
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
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
Authentic cadences
the half cadence
the plagal cadence
the deceptive cadence
cadences :summary and voice leading
Melodic Organization I: Phrase Structure
Motive phrase
period structure
form diagrams
bass reductions
more on period structure
phrase group
the technique of interruption
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
Nonchord Tones
The passing tone
the neighbor note
the anticipation
incomplete neighbors
pedal point
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
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
Harmonic Rhythm
Harmonic rhythm
harmony, rhythm, and meter: tonal and metric accents
metric-harmonic “rhyme” and conflict
writing your own progressions
harmonizing a melody with keyboard figuration
The Dominant Seventh and Its Inversions
V7 in root position
inversions of the dominant seventh
combining prolongational chords
The Leading-Tone Triad
Doubling and voice leading
the passing viio6
viio6 as a dominant substitute
the leading-tone cadence
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
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
Secondary Dominants I
Chromatic harmony
tonicization: secondary dominants
V7 of V
V7 of IV (iv)
elaborating a diatonic framework with chromatic harmony
pitch patterns
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
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
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
Small Forms: Binary and Ternary
The binary principle
binary tonal types
binary formal designs
the ternary principle
Contrapuntal Genres
The chorale prelude
the two-voice invention
Bach: Invention no. 3, in DM
the fugue
the fugato
Modal Mixture
Variation Forms
Change of mode
borrowed chords
variation forms
continuous variations
sectional variations
pitch patterns
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
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 reinterpretati
on of viio7
writing modulations with viio7 chords
chromatic linear modulatory processes
pitch patterns
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
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
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
The German Romantic Li
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