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The Practice of Harmony,9780205717194
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The Practice of Harmony

by ;
Edition:
6th
ISBN13:

9780205717194

ISBN10:
0205717195
Format:
Spiral Bound
Pub. Date:
7/28/2011
Publisher(s):
Pearson

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This is the 6th edition with a publication date of 7/28/2011.
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Summary

A thorough introduction to harmony in common practice.   Takes students from the fundamentals of harmony including harmony in common practice and some of the more important harmonic procedures of the 20th century.     With an emphasis on learning and understanding by doing,this text/workbook combination takes students from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. The approach is ;additive ; throughout, allowing students to use what was learned in one chapter to help comprehension of the materials in the next. This allows for minimum of memorization since students repeatedly use the concepts throughout the semester.   Teaching and Learning Experience   Personalize Learning-MySearchLab offers assests for further study, including research databases, information on how to write a research paper, and subject libraries.   Improve Critical Thinking-Students learn that harmony may be understood as a continuum rather than a series of unrelated elements.   Engage Students-Emphasis on comprehension of governing principles rather than memorization of rules.   Understand Music-Provides students with immediate understanding of what the particular musical example is emphasizing and what harmonic principle the example reveals.   Support Instructors-Supported by the best instructor resources on the market; MySearchLab, and an Instructor's Manual.   Note:MySearchLab does no come automatically packaged with this text. To purchase MySearchLab, please visitwww. MySearchLab.comor you can purchase a valuepack of the text + MySearchLab (VP ISBN-10: 0205230172, VP ISBN-13: 9780205230174)

Author Biography

Barbara Bennett is a Lecturer in the Department of Music at the University of California, Riverside, where she teaches a three-part series of classes on harmonic theory. A composer and pianist as well as a teacher, Dr. Bennett is active in the College Music Society and the National Association of Composers, USA (NACUSA), having served as an officer on both national boards. Besides harmony, she also teaches Advanced Music Fundamentals and Introduction to Western Music at UC Riverside. She earned her bachelor’s and master’s degrees in music at the University of Georgia, and her D. M. from The Florida State University.

Table of Contents

IN THIS SECTION:
1.) BRIEF
2.) COMPREHENSIVE

 


BRIEF TABLE OF CONTENTS:

 

Contents

 

Preface

 

Part One          Foundations       

 

Chapter 1          Clefs and Basic Pitch Notation

Chapter 2          Scales 

Chapter 3          Key Signatures and Scale Degrees

Chapter 4          Intervals 

Chapter 5          Triads 

Chapter 6          The Notation of Rhythm

 

Part Two    Harmony in Common Practice 

The Diatonic Vocabulary 

 

Chapter 7          Four-Part Vocal Writing 

Chapter 8          Primary Triads in Root Position  

Chapter 9          Primary Triads in First Inversion

Chapter 10        Primary Triads in Second Inversion

Chapter 11        Secondary Triads                    

Chapter 12        The Harmonization of Melodies I

Chapter 13        Nonchord Tones I:  Passing Tones, Neighboring Tones, Changing Tones,

Appoggiaturas, Escape Tones, Anticipations 

Chapter 14        Nonchord Tones II:  Suspensions, Pedal Points

Chapter 15        Diatonic Seventh Chords

Chapter 16        The Harmonization of Melodies II

Chapter 17        Writing for the Piano

 

Part Three Harmony in Common Practice

The Chromatic Vocabulary

 

Chapter 18        Secondary Dominants

Chapter 19        Secondary Diminished Seventh Chords

Chapter 20        Augmented Sixth Chords

Chapter 21        Borrowed Chords

Chapter 22        The Neapolitan

Chapter 23        Common Chord Modulation

Chapter 24        Abrupt and Enharmonic Modulation

 

Part Four   Post-Common Practice Harmony

 

Chapter 25        Ninth, Eleventh, and Thirteenth Chords

Chapter 26        Chord Symbols

Chapter 27        Modal Harmony

Chapter 28        Nonfunctional Harmony

Chapter 29        Artificial Scales

Chapter 30        Nontertian Harmony

Chapter 31        Harmonic Procedures in Twelve-Tone Serialism

 

Appendix A 

Appendix B

Appendix C

 

INDEX


COMPREHENSIVE TABLE OF CONTENTS:

 

Contents

 

Preface

 

Part One          Foundations       

 

Chapter 1          Clefs and Basic Pitch Notation

 

Chapter 2          Scales

 

The Major Scale

The Minor Scale

Naming Scales

Scales in Descent

The Synthetic Minor Scale

Modes

 

Chapter 3          Key Signatures and Scale Degrees

 

Chapter 4          Intervals

 

The Quality of Intervals

The Inversion of Intervals

Compound Intervals

 

Chapter 5          Triads

 

Types of Triads

Triads in Major and Minor Keys

 

Chapter 6          The Notation of Rhythm

 

Note Values

Meter Signatures

Principles of Notation

           

Part Two    Harmony in Common Practice 

                        The Diatonic Vocabulary

 

Chapter 7          Four-Part Vocal Writing

 

Chapter 8          Primary Triads in Root Position 

 

Cadences

Roots a Fourth and Fifth Apart

Roots a Second Apart

Restrictions in Voice Leading

Primary Triads in Combination

The Function of Primary Triads

The Dominant Seventh

 

Chapter 9          Primary Triads in First Inversion

 

Chord Symbolization:  Figured Bass

Primary Triads in First Inversion

 

Chapter 10        Primary Triads in Second Inversion

 

The Cadential Six-Four Chord

The Passing Six-Four Chord

The Auxiliary Six-Four Chord

 

Chapter 11        Secondary Triads                    

 

Chord Relationships

The Sixth and Seventh Scale Degrees in Minor Keys

 

Chapter 12        The Harmonization of Melodies I

 

Chapter 13        Nonchord Tones I:  Passing Tones, Neighboring Tones, Changing Tones,

Appoggiaturas, Escape Tones, Anticipations

 

The Passing Tone

The Neighboring Tone

Changing Tones

The Appoggiatura

The Escape Tone

The Anticipation

 

Chapter 14        Nonchord Tones II:  Suspensions, Pedal Points

 

Suspensions

Pedal Points

 

Chapter 15        Diatonic Seventh Chords

 

Figured Bass Symbols for Seventh Chords

The Seventh Chord in Four-Part Writing

The Function of Diatonic Seventh Chords

 

Chapter 16        The Harmonization of Melodies II

 

Passing Tone Patterns [P]

Neighboring Tone Patterns [N]

Suspension Patterns [Sus]

Appoggiatura Patterns [Ap]

Escape Tone Patterns [Et]

Anticipation Patterns [An]

 

Chapter 17        Writing for the Piano

 

Melodic Considerations

Contrapuntal Practices

Four-Part Chordal Styles

The Piano Accompaniment

 

Part Three Harmony in Common Practice

The Chromatic Vocabulary

 

Chapter 18        Secondary Dominants

 

The Function of Secondary Dominants

Deceptive Resolutions of Secondary Dominants

 

Chapter 19        Secondary Diminished Seventh Chords

 

The Function of Secondary Diminished Seventh Chords

Irregular Resolutions of Diminished Seventh Chords

 

Chapter 20        Augmented Sixth Chords

 

The Function of Augmented Sixth Chords

Other Uses of Augmented Sixth Chords

 

Chapter 21        Borrowed Chords

 

Chapter 22        The Neapolitan

 

The Neapolitan Sixth Chord

The Function of the Neapolitan Sixth

The Neapolitan in Root Position

 

Chapter 23        Common Chord Modulation

 

Chapter 24        Abrupt and Enharmonic Modulation

 

Abrupt Modulation

Enharmonic Modulation

 

Part Four   Post-Common Practice Harmony

 

Chapter 25        Ninth, Eleventh, and Thirteenth Chords

 

Ninth Chords

Perfect Eleventh Chords

Augmented Eleventh Chords

Thirteenth Chords

Ninth, Eleventh, and Thirteenth Chords in Combination

 

Chapter 26        Chord Symbols

 

Tritone Substitution

 

Chapter 27        Modal Harmony

 

Modes

The Pentatonic Scale

 

Chapter 28        Nonfunctional Harmony

 

Root Movements Based on the Chromatic Scale

Parallelism

Chords of Addition

Polychords

Bitonality

Pandiatonicism

 

Chapter 29        Artificial Scales

 

The Whole Tone Scale

The Octatonic Scale

 

Chapter 30        Nontertian Harmony

 

Nontertian Projections

Freely Formed Harmonic Structures

 

Chapter 31        Harmonic Procedures in Twelve-Tone Serialism

 

Introduction

The Construction of the Basic Set

The Harmonic Basis

 

Appendix A

           

Answers for Selected Exercises Chapters 7-22

 

Appendix B

 

Study Guide for Analysis

Guided Analysis — Handel Passacaglia

Guided Analysis — Mozart Piano Sonata K. 457, III, m. 167-183

List of Music for Analysis

 

Appendix C

 

Musical Calligraphy

Instruments

Tempo and Expression Marks

 

INDEX



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