Harmony in context

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Cover Page Title Page Copyright Page Dedication About the Author Contents Preface A Message to the Student: Why Do We Study Music Theory? Acknowledgments Introduction The Fundamentals of Music Chapter A Pich: Notation and Intervals The Notation of Pitch Intervals 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 and Keys Modes and Scales Key Signatures Other Modes and Scales Chapter D The Rudiments of Harmony I: Triads and Seventh Chords Chords Triads Seventh Chords Chapter E The Rudiments of Harmony II: Labeling Chords; Musical Texture Harmonic Function, Roman Numerals Figured Bass Musical Texture Chapter F 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) Part 1 Diatonic Harmony Chapter 1 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 Progression 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 Characteristic Soprano-Bass Patterns The I–V–I Progression as a Form-Generating Structure Pitch Patterns Chapter 3 Harmonic Function; The Subdominant Triad in Root Position The Basic Harmonic Functions The Subdominant Triad Characteristic Soprano-Bass Patterns A Model to Elaborate the Fundamental Progression Pitch Patterns Chapter 4 Triads in First Inversion The Triad in First Inversion: Uses and Function The Neighbor V6 Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Pitch Patterns Chapter 5 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 Chapter 6 Nonchord Tones The Passing Tone The Neighbor Note The Anticipation Incomplete Neighbors Suspensions Pedal Point Chapter 7 64 Chords 210 Consonant 64 Chords: The Arpeggiated 64 Dissonant 64 Chords The Neighbor 64 The Passing 64 The Cadential 64 Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Pitch Patterns Chapter 8 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 Chapter 9 The Leading-Tone Triad Doubling and Voice Leading The Passing vii°6 vii°6 as a Dominant Substitute The Leading-Tone Cadence Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Pitch Patterns Chapter 10 Cadences Authentic Cadences The Half Cadence The Plagal Cadence The Deceptive Cadence Pitch Patterns Chapter 11 Melodic Organization I: Phrase Structure Motive Phrase Period Structure Form Diagrams More on Period Structure Phrase Group Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension Melodic Developmental Techniques Phrase Extension Chapter 13 Harmonic Rhythm; Metric Reduction Harmonic Rhythm Metric Reduction Compound Melody Writing Your Own Progressions Chapter 14 The Mediant, Submediant, and Subtonic Triads The Mediant and Submediant Triads as Prolongations of the Tonic Other Uses of the Mediant and Submediant The Subtonic Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Harmonizing a Melody with Keyboard Figuration 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 Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Pitch Patterns Chapter 16 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 Part 2 Chromatic Harmony and Form Chapter 17 Secondary Dominants I Chromatic Harmony Tonicization: Secondary Dominants V7 of V V7 of IV (iv) Characteristic Soprano-Bass Patterns Elaborating the I–V–I Progression Pitch Patterns Chapter 18 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 Chapter 19 Secondary Leading-Tone Chords Secondary Leading-Tone Seventh Chords Secondary vii7 Chords in Inversion The vii7 Over a Pedal Point Elaborating the I–V–I Progression A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale Pitch Patterns Chapter 20 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 Chapter 21 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 Chapter 22 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 Chapter 23 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 Chapter 24 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 Chapter 25 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 Chapter 26 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 vii°7 Writing Modulations with vii°7 Chords Pitch Patterns Chapter 27 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 Chapter 28 Introduction to Large Forms Sonata Form Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25) The Rondo A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21) Chapter 29 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 The Descending Circle-of-5ths Sequence Nonsequential Linear Processes Pitch Patterns Chapter 30 The German Romantic Lied: Chromatic Harmony in Context The German Romantic Lied Analysis 1: Schubert, Erlkönig Analysis 2: Schumann, “Widmung” Modulation by Enharmonic Reinterpretation of V+ Analysis 3: Wolf, “Das Verlassene Mägdlein” Pitch Patterns Chapter 31 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 Musical Example Index Subject Index