9780070358744

Tonal Harmony, with an Introduction to Twentieth-Century Music

by
  • ISBN13:

    9780070358744

  • ISBN10:

    0070358745

  • Edition: 3rd
  • Copyright: 1994-01-01
  • Publisher: MCG
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Table of Contents

About the Authors xii
Preface xiii
To the Student xviii
PART ONE: FUNDAMENTALS 1(74)
Elements of Pitch
3(24)
The Keyboard and Octave Registers
3(1)
Notation on the Staff
4(2)
The Major Scale
6(3)
The Major Key Signatures
9(4)
Minor Scales
13(1)
Minor Key Signatures
14(4)
Scale Degree Names
18(1)
Intervals
19(1)
Perfect, Major, and Minor Intervals
20(3)
Augmented and Diminished Intervals
23(1)
Inversion of Intervals
23(4)
Elements of Rhythm
27(18)
Rhythm
27(1)
Durational Symbols
27(1)
Beat and Tempo
28(1)
Meter
29(2)
Division of the Beat
31(1)
Simple Time Signatures
32(2)
Compound Time Signatures
34(3)
Time Signatures Summarized
37(2)
More on Durational Symbols
39(6)
Introduction to Triads and Seventh Chords
45(16)
Introduction
45(1)
Triads
45(3)
Seventh Chords
48(2)
Inversions of Chords
50(1)
Inversion Symbols and Figured Bass
51(4)
Recognizing Chords in Various Textures
55(6)
Diatonic Chords in Major and Minor Keys
61(14)
Introduction
61(1)
The Minor Scale
61(3)
Diatonic Triads in Major
64(1)
Diatonic Triads in Minor
65(3)
Diatonic Seventh Chords in Major
68(1)
Diatonic Seventh Chords in Minor
69(6)
PART TWO: DIATONIC TRIADS 75(128)
Principles of Voice Leading
77(14)
Introduction
77(1)
The Melodic Line
78(2)
Notating Chords
80(1)
Voicing a Single Triad
81(3)
Parallels
84(7)
Root Position Part Writing
91(15)
Introduction
91(1)
Root Position Part Writing with Repeated Roots
92(1)
Root Position Part Writing with Roots a 4th (5th) Apart
93(3)
Root Position Part Writing with Roots a 3rd (6th) Apart
96(2)
Root Position Part Writing with Roots a 2nd (7th) Apart
98(4)
Instrumental Ranges and Transpositions
102(4)
Harmonic Progression
106(19)
Introduction
106(1)
Sequences and the Circle of Fifths
107(3)
The I and V Chords
110(2)
The II Chord
112(1)
The VI Chord
113(1)
The III Chord
114(1)
The VII Chord
115(1)
The IV Chord
116(1)
Common Exceptions
117(1)
Differences in the Minor Mode
118(1)
Conclusion
119(6)
Triads in First Inversion
125(15)
Introduction
125(1)
Bass Arpeggiation
126(1)
Substituted First Inversion Triads
127(2)
Parallel Sixth Chords
129(2)
Part Writing First Inversion Triads
131(9)
Triads in Second Inversion
140(12)
Introduction
140(1)
Bass Arpeggiation and the Melodic Bass
141(1)
The Cadential Six-Four
142(2)
The Passing Six-Four
144(2)
The Pedal Six-Four
146(2)
Part Writing for Second Inversion Triads
148(4)
Cadences, Phrases, and Periods
152(22)
Musical Form
152(1)
Cadences
152(6)
Motives and Phrases
158(2)
Mozart: ``An die Freude''
160(2)
Period Forms
162(12)
Non-Chord Tones 1
174(16)
Introduction
174(1)
Classification of Non-Chord Tones
175(1)
Passing Tones
176(2)
Neighboring Tones
178(1)
Suspensions and Retardations
179(5)
Figured Bass Symbols
184(1)
Embellishing a Simple Texture
185(5)
Non-Chord Tones 2
190(13)
Appoggiaturas
190(2)
Escape Tones
192(1)
The Neighbor Group
192(1)
Anticipations
193(2)
The Pedal Point
195(1)
Special Problems in the Analysis of Non-Chord Tones
196(7)
PART THREE: DIATONIC SEVENTH CHORDS 203(50)
The V7 Chord
205(20)
Introduction
205(1)
General Voice-Leading Considerations
206(1)
The V7 in Root Position
207(4)
The V7 in Three Parts
211(1)
Other Resolutions of the V7
212(4)
The Inverted V7 Chord
216(1)
The V6 5 Chord
217(1)
The V4 3 Chord
218(1)
The V4 2 Chord
219(1)
The Approach to the 7th
220(5)
The II7 and VII7 Chords
225(14)
Introduction
225(1)
The II7 Chord
226(2)
The VII7 Chord in Major
228(2)
The VII7 Chord in Minor
230(9)
Other Diatonic Seventh Chords
239(14)
The IV7 Chord
239(3)
The VI7 Chord
242(2)
The I7 Chord
244(2)
The III7 Chord
246(1)
Seventh Chords and the Circle-of-Fifths Sequence
246(7)
PART FOUR: CHROMATICISM 1 253(100)
Secondary Functions 1
255(18)
Chromaticism and Altered Chords
255(1)
Secondary Functions
256(1)
Secondary Dominant Chords
256(2)
Spelling Secondary Dominants
258(1)
Recognizing Secondary Dominants
259(1)
Secondary Dominants in Context
260(13)
Secondary Functions 2
273(26)
Secondary Leading-Tone Chords
273(2)
Spelling Secondary Leading-Tone Chords
275(1)
Recognizing Secondary Leading-Tone Chords
275(2)
Secondary Leading-Tone Chords in Context
277(6)
Sequences Involving Secondary Functions
283(4)
Deceptive Resolutions of Secondary Functions
287(1)
Other Secondary Functions
288(11)
Modulations Using Diatonic Common Chords
299(18)
Modulation and Change of Key
299(1)
Modulation and Tonicization
300(2)
Key Relationships
302(3)
Common-Chord Modulation
305(2)
Analyzing Common-Chord Modulation
307(10)
Some Other Modulatory Techniques
317(18)
Altered Chords as Common Chords
317(1)
Sequential Modulation
318(3)
Modulation by Common Tone
321(4)
Monophonic Modulation
325(1)
Direct Modulation
326(9)
Binary and Ternary Forms
335(18)
Formal Terminology
335(1)
Binary Forms
335(3)
Ternary Forms
338(4)
Rounded Binary Forms
342(3)
Other Formal Designs
345(8)
PART FIVE: CHROMATICISM 2 353(96)
Mode Mixture
355(17)
Introduction
355(1)
Borrowed Chords in Minor
355(1)
The Use of b6 in Major
356(3)
Other Borrowed Chords in Major
359(3)
Modulations Involving Mode Mixture
362(10)
The Neapolitan Chord
372(12)
Introduction
372(1)
Conventional Use of the Neapolitan
372(3)
Other Uses of the Neapolitan
375(9)
Augmented Sixth Chords 1
384(16)
The Interval of the Augmented Sixth
384(1)
The Italian Augmented Sixth Chord
385(1)
The French Augmented Sixth Chord
386(2)
The German Augmented Sixth Chord
388(3)
Other Uses of Conventional Augmented Sixth Chords
391(9)
Augmented Sixth Chords 2
400(10)
Introduction
400(1)
Other Bass Positions
400(2)
Resolutions to Other Scale Degrees
402(1)
Resolutions to Other Chord Members
403(2)
Other Types of Augmented Sixth Chords
405(5)
Enharmonic Spellings and Enharmonic Modulations
410(15)
Enharmonic Spellings
410(3)
Enharmonic Reinterpretation
413(1)
Enharmonic Modulations Using the Major-Minor Seventh Sonority
414(2)
Enharmonic Modulations Using the Diminished Seventh Chord
416(9)
Further Elements of the Harmonic Vocabulary
425(24)
Introduction
425(1)
The Dominant with a Substituted 6th
425(3)
The Dominant with a Raised 5th
428(3)
Ninth, Eleventh, and Thirteenth Chords
431(2)
The Common-Tone Diminished Seventh Chord
433(4)
Simultaneities
437(2)
Coloristic Chord Successions
439(10)
PART SIX: LATE ROMANTICISM AND THE TWENTIETH CENTURY 449(108)
Tonal Harmony in the Late Nineteenth Century
451(27)
Introduction
451(1)
Counterpoint
452(5)
Treatment of Dominant Harmony
457(3)
Sequence
460(3)
Shifting Keys
463(2)
Expanded Tonality
465(13)
An Introduction to Twentieth-Century Practices
478(79)
Introduction
478(1)
Impressionism
479(1)
Scales
480(12)
Chord Structure
492(8)
Parallelism
500(7)
Pandiatonicism
507(2)
Set Theory
509(4)
The Twelve-Tone Technique
513(13)
Total Serialization
526(3)
Rhythm and Meter
529(7)
Aleatory or Chance Music
536(7)
Texture and Expanded Instrumental Resources
543(7)
Electronic Music
550(7)
Appendix A Instrumental Ranges and Transpositions 557(2)
Appendix B Answers to Self-Tests 559(100)
Indexes Index of Music Examples 659(4)
Subject Index 663

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