Harmonic Prac Tm 2E Cl

by Gauldin,Robert

• ISBN13: 9780393976663
• ISBN10: 0393976661
• Edition: 2nd
• Format: Hardcover
• Copyright: 2004-03-08
• Publisher: W. W. Norton & Company

Summary

Taking a linear functional approach, Professor Gauldin uses clear explanations and outstanding musical examples to show students how individual chords function in the overall structure of a piece, explaining how both harmonic and melodic forces contribute to the development of musical ideas. For the Second Edition, Professor Gauldin has undertaken a comprehensive revision that responds directly to the suggestions of instructors. The new text emphasizes fundamental concepts, using a more effective organization and simpler, more accessible language to bring the most important ideas and information to the foreground. The music literature examples included in the text are now available on this single CD-ROM with performances by students and faculty from the Eastman School of Music.

Table of Contents

Preface (To The Teacher)	xxi
Introduction (To The Student)	xxix
PART ONE THE BASIC ELEMENTS OF MUSIC
Pitch and Intervals	3	(17)
Pitch Notation and the Diatonic Pitch Collection	4	(2)
Pitch Register and Pitch Class	6	(1)
Half Steps and Accidentals	7	(2)
The Natural or White-Key Intervals	9	(3)
Simple and Compound Intervals	12	(1)
Spelling Intervals with Accidentals	13	(1)
Interval Inversion	14	(2)
Consonant and Dissonant Intervals	16	(4)
Terms and Concepts for Review	18	(1)
A Brief Review Self-Quiz	18	(2)
Rhythm and Meter I: Beat, Meter, and Rhythmic Notation	20	(12)
The Beat and Tempo	20	(2)
Metrical Grouping and Meter	22	(1)
Division and Subdivision of the Beat	23	(1)
Rhythmic Notation	24	(1)
The Beat Value	25	(1)
Meter Signatures in Moderate Tempo	26	(2)
Some Guidelines for Rhythmic Notation	28	(4)
Terms and Concepts for Review	29	(1)
A Brief Review Self-Quiz	30	(2)
Tonic, Scale, and Melody	32	(23)
Tonic and Tonality	32	(3)
The Major Mode and Major Scale	35	(1)
Diatonic Scale Degrees	36	(1)
The Minor Mode and Minor Scale	36	(4)
The Transposition of Scales and Melodies	40	(1)
Relative and Parallel Keys	41	(1)
The Circle of 5ths	42	(1)
Key Signatures	43	(1)
The Function of Scale Degrees in Melody	44	(1)
Melodic Phrases	45	(1)
Melodic Cadences	46	(3)
Two Melodic Analyses	49	(6)
Terms and Concepts for Review	52	(1)
A Brief Review Self-Quiz	52	(3)
Triads and Seventh Chords	55	(12)
Root-Position Major and Minor Triads	56	(1)
Inversions of Major and Minor Triads	57	(1)
Diminished and Augmented Triads	58	(1)
Triad Spelling and Notation	59	(1)
Figured Bass	59	(3)
Seventh Chords	62	(2)
Inversions of Seventh Chords	64	(3)
Terms and Concepts for Review	65	(1)
A Brief Review Self-Quiz	65	(2)
Musical Texture and Chordal Spacing	67	(15)
Basic Categories of Texture	67	(4)
Strict vs. Free Texture	71	(1)
Four-Voice Texture	72	(2)
Chordal Spacing in Four-Voice Texture	74	(1)
Doubling in Four-Voice Chords	75	(1)
Voice Movement within the Same Triad	76	(1)
Chordal Implication in Two-Voice Texture	77	(5)
Terms and Concepts for Review	79	(1)
A Brief Review Self-Quiz	79	(3)
Partwriting in Four-Voice Texture	82	(12)
Criteria for Melodic Writing	82	(1)
Melodic Motion between Voices	83	(2)
Voice Leading	85	(1)
Partwriting	85	(1)
Principles of Melodic Writing	86	(1)
Connecting Chords	86	(1)
Perfect Intervals in Succession	87	(2)
Chordal Spacing or Structure	89	(1)
Chordal Doubling	90	(4)
Terms and Concepts for Review	91	(1)
A Brief Review Self-Quiz	92	(2)
Melodic Figuration and Dissonance I: Categories of Embellishing Tones	94	(23)
Essential and Embellishing Notes	95	(1)
Chordal Embellishment and Compound Melody	96	(2)
Categories of Dissonant Embellishing Tones	98	(1)
Unaccented/Stepwise Embellishing Tones	99	(3)
Unaccented/Leaping Embellishing Tones	102	(2)
Accented/Stepwise Embellishing Tones	104	(3)
Accented/Leaping Embellishing Tones	107	(1)
Free Tones	108	(1)
Consonant Embellishing Tones	109	(1)
The Pedal Point	110	(1)
The Perception of Embellishing Tones	110	(7)
Terms and Concepts for Review	112	(1)
A Brief Review Self-Quiz	112	(5)
PART TWO DIATONIC HARMONY
Introduction to Diatonic Harmony	117	(9)
Aspects of Harmony	117	(1)
Roman Numerals	118	(2)
Harmonic Tendency	120	(1)
The Underlying Basis for Harmonic Tendency	121	(2)
The Influence of Melodic Sequences on Harmonic Tendency	123	(1)
Harmonic Models	123	(3)
Terms and Concepts for Review	124	(1)
A Brief Review Self-Quiz	124	(2)
The Primary Triads: Tonic, Dominant, and Subdominant Chords	126	(20)
Tonality as the Extension of Tonic Harmony	126	(1)
The Prolongation of Tonic Harmony	127	(1)
The Tonic, Dominant, and Subdominant Triads	128	(1)
Relationships between the Primary Chords	129	(1)
Partwriting Connections between the Primary Triads	129	(2)
The Polarity between Tonic and Dominant Chords	131	(2)
The Authentic Cadence	133	(1)
The Half Cadence	134	(1)
The Plagal Cadence	135	(2)
Voice-Leading Reduction	137	(1)
Cadential Expansion within the Phrase	137	(3)
Harmonizing Melodies	140	(2)
Elaborating Harmonic Models	142	(4)
Terms and Concepts for Review	143	(1)
A Brief Review Self-Quiz	143	(3)
The Dominant Seventh: Embellishing the Tonic Harmony	146	(18)
The Dominant Seventh in Root Position	146	(1)
Preparation and Resolution of the V7	147	(2)
The Cadential Dominant Seventh	149	(2)
Arpeggiated Tonic Prolongation within the Phrase	151	(3)
Prolongation of Tonic Harmony using Embellishing Chords	154	(5)
Melody Harmonization	159	(1)
The Elaboration of a Harmonic Model	160	(4)
Terms and Concepts for Review	162	(1)
A Brief Review Self-Quiz	162	(2)
The Tonic and Subdominant Triads in First Inversion: The IV and I as Embellishing Chords	164	(15)
Partwriting with the I6 and IV6	165	(1)
The Use of the I6	166	(1)
The Use of the IV6	167	(2)
The IV as an Embellishing Chord	169	(1)
The I as an Embellishing Chord	170	(2)
Melody Harmonization	172	(3)
Elaboration of Harmonic Models	175	(4)
Terms and Concepts for Review	177	(1)
A Brief Review Self-Quiz	177	(2)
Phrase Structure and Grouping	179	(21)
Phrase Length	179	(2)
Larger Phrase Grouping: The Period Family	181	(3)
Double Periods	184	(2)
Some Miniature Formal Designs	186	(1)
Phrase Periodicity	187	(2)
Phrase Extension, Contraction, and Elision	189	(2)
Varied Phrase Lengths	191	(1)
The Internal Anatomy of Phrases: Sub-Phrases and Sentence Structure	192	(1)
Motives and Their Development	193	(3)
Pitch and Rhythmic Motives	196	(4)
Terms and Concepts for Review	197	(1)
A Brief Review Self-Quiz	198	(2)
Linear Dominant Chords: V6, vii06, and Inversions of V7	200	(22)
The V6, vii06, and Inversions of V7	200	(2)
Uses of the V6 and vii06	202	(2)
Embedded Voice-Leading Motion	204	(1)
Examples of the V6 and vii06 in Music Literature	205	(1)
Inversions of the V7	205	(3)
Examples of Inversions of V7 in Music Literature	208	(3)
Arpeggiated Extensions of Dominant Harmony	211	(2)
Exceptional Treatments of the Chordal 7th	213	(2)
Extended Embellishment of the Tonic Harmony	215	(1)
Melody Harmonization	216	(6)
Terms and Concepts for Review	219	(1)
A Brief Review Self-Quiz	220	(2)
The Pre-Dominant II and II7 Chords	222	(20)
The Supertonic Family	222	(2)
Partwriting with Supertonic Chords	224	(1)
The Pre-Dominant ii6 and ii65 in Cadential Formulas	225	(4)
Supertonic Harmony in Embellishing Progressions	229	(1)
Examples of Supertonic Harmony in Music Literature	230	(4)
Prolongation of the Pre-Dominant Function	234	(3)
Melody Harmonization	237	(5)
Terms and Concepts for Review	239	(1)
A Brief Review Self-Quiz	240	(2)
Melodic Figuration and Dissonance II: Suspensions and Other uses of Embellishing Tones	242	(25)
Suspensions in Two-Voice Texture	242	(4)
Suspensions in Four-Voice Texture	246	(3)
Ornamental Resolutions	249	(1)
Additional Suspension Techniques	249	(2)
Multiple Suspensions	251	(2)
Suspensions as a Compositional Device	253	(1)
Melody Harmonization	254	(1)
Other Features of Embellishing Tones	255	(1)
The Interaction of Consecutive or Simultaneous Embellishing Tones	256	(1)
Some Analytical Problems with Embellishing Tones	256	(4)
The Affective Nature of Melodic Dissonance	260	(2)
Embellishing Tones in Partwriting and Melody Harmonization	262	(5)
Terms and Concepts for Review	264	(1)
A Brief Review Self-Quiz	264	(3)
The 64 and Other Linear Chords	267	(23)
The Accented or Cadential 64 Chord	268	(2)
Elaborating the Cadential 64	270	(3)
The Passing 64 Chord	273	(2)
The Pedal 64 Chord	275	(2)
The Arpeggiated 64 Chord	277	(1)
Other Treatments of the Cadential 64	278	(1)
The Extended 64 and the Cadenza	279	(1)
Melody Harmonization	280	(1)
Other Diatonic Linear Chords	281	(9)
Terms and Concepts for Review	287	(1)
A Brief Review Self-Quiz	287	(3)
The VI, III, and Other Diatonic Triads	290	(17)
The Submediant and Mediant Triads in Major and Minor	290	(1)
The Root-position VI between Tonic and Pre-dominant Harmonies	291	(3)
The VI as a Substitute for I: The Deceptive Cadence and Progression	294	(1)
Other Treatments of the V-vi Progression	295	(2)
The Root-position III Triad within the Phrase	297	(3)
The ``First-inversion'' VI and III as Voice-leading Substitutes for I and V	300	(2)
Modal Chords	302	(1)
Other Diatonic Triads: The v6 and VII in Minor	303	(1)
Melody Harmonization	304	(3)
Terms and Concepts for Review	305	(1)
A Brief Review Self-Quiz	305	(2)
Rhythm and Meter II: Additional Meter Signatures and Rhythmic-Metrical Dissonance	307	(16)
Meter Signatures in Very Slow or Very Fast Tempo	307	(2)
Asymmetrical Meters	309	(1)
Fast Complex Meters	310	(1)
Rhythmic-Metrical Consonance	311	(1)
Rhythmic Dissonance	311	(4)
Metrical Dissonance	315	(8)
Terms and Concepts for Review	321	(1)
A Brief Review Self-Quiz	322	(1)
The Leading-tone Seventh Chord and Other Seventh Chords	323	(19)
The Leading-tone Diminished-seventh Chord in the Minor Mode	323	(2)
Partwriting with the vii07 in the Minor Mode	325	(3)
Other Uses of the vii07	328	(5)
The Leading-tone Seventh Chord in the Major Mode	333	(1)
Melody Harmonization	334	(1)
Other Diatonic Seventh Chords: The IV7, I7, VI7, and III7	335	(7)
Terms and Concepts for Review	340	(1)
A Brief Review Self-Quiz	340	(2)
Harmonic Sequences I: Triadic Root Movement By 5th, 2nd, and 3rd	342	(23)
Sequential and Cyclical Root Movement	342	(2)
Harmonic Sequences	344	(2)
Triadic Root Movement by Descending 5th	346	(1)
Triads in Descending 5th Sequences	347	(4)
Triads in Ascending 5th Sequences	351	(1)
Root Movement by 2nd: Successive First-inversion Chords	352	(3)
Sequences of Root-position Triads in Stepwise Motion	355	(2)
Root Movement by Descending and Ascending 3rd	357	(3)
Harmonic Sequences in Melody Harmonization	360	(5)
Terms and Concepts for Review	364	(1)
A Brief Review Self-Quiz	364	(1)
Tonicization and Modulation I: Secondary Dominant Chords	365	(21)
Tonicization and Modulation	366	(1)
Secondary or Applied Dominant Chords	366	(1)
Approaching Altered Notes in Secondary Dominants	367	(2)
Tonicization of the Dominant	369	(2)
Tonicization of the Subdominant	371	(2)
Tonicization of ii, vi, and iii in the Major Mode	373	(3)
Tonicizations of III, VI, and VII in the Minor Mode	376	(2)
Cross Relations	378	(1)
Extended Successions of Secondary Dominants	379	(4)
Melody Harmonization	383	(3)
Terms and Concepts for Review	384	(1)
A Brief Review Self-Quiz	384	(2)
Tonicization and Modulation II: Motion to V and III	386	(20)
The Strength and Duration of Tonicizations	386	(2)
Modulation	388	(2)
Methods of Modulation	390	(3)
Modulation to the Dominant Key in the Major Mode	393	(1)
Intermovement Tonal Schemes Involving Modulation to the Dominant	394	(2)
Modulation to the Relative Major in the Minor Mode	396	(2)
Intramovement Tonal Schemes Involving Modulation to the Relative Major	398	(3)
Melody Harmonization	401	(5)
Terms and Concepts for Review	403	(1)
A Brief Review Self-Quiz	403	(3)
Harmonic Sequences II: Sequences of Seventh Chords and Other Sequences	406	(20)
Diatonic Root-position Seventh Chords in Sequences Descending by 5th	406	(3)
Sequences using Inverted Diatonic Seventh Chords	409	(3)
The Use of Secondary Dominants in Harmonic Sequences	412	(3)
Other Diatonic Sequences	415	(2)
Sequences as a Means of Modulation	417	(1)
Unusual Treatment of Seventh Chords in Sequential Movement	417	(4)
The Elaboration of Sequences	421	(5)
Terms and Concepts for Review	422	(1)
A Brief Review Self-Quiz	423	(3)
Simple Forms	426	(27)
Content and Form	427	(1)
Formal Design and Tonal Structure	427	(1)
One-part Form	427	(2)
Binary or Two-reprise Design	429	(1)
The Two-reprise Design in the Baroque Period	429	(2)
The Two-reprise Design in the Classical Period	431	(1)
Ternary Form	432	(4)
Variation Form	436	(2)
Baroque Continuous Variations	438	(3)
Sectional Variations, or Theme and Variations	441	(4)
Rondo Form	445	(1)
The Five-part Rondo	446	(4)
Seven-part Rondo Form	450	(3)
Terms and Concepts for Review	451	(1)
A Brief Review Self-Quiz	452	(1)
Analytical Comments on a Menuetto and Trio by Beethoven	453	(18)
Larger Formal Considerations	453	(1)
Formal Characteristics of Beethoven's Menuetto and Trio	454	(1)
Motives and Phrase Grouping in the Menuetto	455	(5)
Voice Leading in the Menuetto	460	(1)
Motives and Phrase Groupings in the Trio	461	(3)
Middleground Voice Leading in the Trio	464	(1)
Overall Voice Leading in the Menuetto and Trio	465	(1)
Unifying Factors in the Movement	466	(5)
Terms and Concepts for Review	467	(4)
PART THREE CHROMATIC HARMONY
Introduction to Chromatic Harmony	471	(12)
The Historical Evolution of Non-Diatonic Tones	472	(2)
Chromatic Melodic Motion	474	(3)
Enharmonic Duality	477	(1)
Decorative versus Structural Chromaticism	478	(3)
Using Roman Numerals to Designate Chromatic Harmonies	481	(2)
Terms and Concepts for Review	481	(1)
A Brief Review Self-Quiz	482	(1)
Tonicization and Modulation III: Modulations to Closely Related Keys	483	(18)
Closely Related Keys	483	(3)
Relative Frequency of Closely Related Keys	486	(1)
The Extent of the Tonicized Area	486	(2)
The Process of Modulating to Closely Related Keys	488	(3)
Tonal Schemes Within a Movement	491	(3)
Melody Harmonization	494	(7)
Terms and Concepts for Review	498	(1)
A Brief Review Self-Quiz	499	(2)
Modal Exchange and Mixture Chords	501	(23)
Modal Exchange	502	(3)
Mixture Chords	505	(1)
Mixture Chords in the Major Mode	505	(11)
Mixture Chords in the Minor Mode	516	(1)
The III Triad as a Secondary Mixture Chord in Major	516	(2)
The Relationship between Scale Degrees #5 versus 6	518	(2)
Melody Harmonization	520	(4)
Terms and Concepts for Review	521	(1)
A Brief Review Self-Quiz	521	(3)
The Neapolitan or II Chord	524	(14)
A Question of Terminology: iv 6--5 versus II6	525	(1)
The Neapolitan Sixth in Minor and Major Modes	525	(2)
The II6 as an Embellishing Chord	527	(2)
Other Characteristics of the II6	529	(1)
Other Uses of the Neapolitan Chord	530	(3)
Tonicization of the Neapolitan Harmony	533	(1)
Melody Harmonization	534	(4)
Terms and Concepts for Review	536	(1)
A Brief Review Self-Quiz	536	(2)
Augmented Sixth Chords	538	(20)
The Three Common Forms of Augmented Sixth Chords	539	(2)
The Italian, French, and German Augmented Sixth Chords in the Minor Mode	541	(3)
Augmented Sixth Chords in the Major Mode	544	(1)
Secondary Augmented Sixth Chords	545	(2)
Inversions of the Augmented Sixth Chords	547	(3)
Other Resolutions of Augmented Sixth Chords	550	(1)
Enharmonic Augmented Sixth Chords	551	(2)
More Exotic Augmented Sixth Chords	553	(2)
Melody Harmonization	555	(3)
Terms and Concepts for Review	555	(1)
A Brief Review Self-Quiz	556	(2)
Extended Homophonic and Contrapuntal Formal Designs	558	(22)
Sonata Form	558	(9)
Sonata-Rondo Form	567	(1)
Concerto Form	567	(2)
Contrapuntal Forms	569	(11)
Terms and Concepts for Review	578	(1)
A Brief Review Self-Quiz	579	(1)
Embellishing Chromatic Chords	580	(22)
Augmented Triads as Passing or Neighboring Chords	581	(4)
Altered V7 Chords	585	(2)
Embellishing or Common-Tone Diminished-Seventh Chords	587	(3)
Common-Tone Augmented Sixth Chords	590	(3)
Unusual Linear Chords	593	(1)
Additional Chromatic Chords in the Major and Minor Modes	594	(3)
The Use of Chromaticism to Create Modal Ambiguity	597	(1)
Melody Harmonization	598	(4)
Terms and Concepts for Review	599	(1)
A Brief Review Self-Quiz	600	(2)
Dominant Prolongation	602	(10)
Short-Term Chromatic Prolongation of V(7)	603	(1)
Prolongation of the Dominant in Introductions	604	(1)
Prolongation of the Dominant in Retransitions	605	(1)
Prolongation of the Cadential 64 Formula	606	(2)
Dominant Prolongations as Preparation for a Climax	608	(4)
Terms and Concepts for Review	610	(1)
A Brief Review Self-Quiz	610	(2)
Modulation to Foreign Keys I	612	(18)
Modulations to Foreign Keys in the Major Mode	613	(1)
Change-of-Mode Modulation	614	(5)
Third-Related Modulations by Common Tone	619	(2)
Modulations to Foreign Keys by Pivot Chord	621	(3)
Modulations to Foreign Keys in the Minor Mode	624	(2)
Foreign-Key Modulations in Development Sections	626	(1)
Melody Harmonization	627	(3)
Terms and Concepts for Review	628	(1)
A Brief Review Self-Quiz	628	(2)
Ninth, Eleventh, Thirteenth, and Added-Note Chords	630	(17)
General Considerations	631	(1)
Dominant Ninth Chords	631	(5)
Non-dominant Ninth Chords	636	(2)
Eleventh and Thirteenth Chords	638	(4)
Added Notes: 6ths and 9ths	642	(5)
Terms and Concepts for Review	645	(1)
A Brief Review Self-Quiz	645	(2)
Implication and Realization	647	(19)
Music as Communication	648	(1)
Referentialism versus Absolutism	648	(1)
The Origins of Emotion in Music	649	(1)
Implication and Realization	649	(14)
Surprise and Ambiguity	663	(1)
Application to Musical Analysis	664	(2)
Terms and Concepts for Review	665	(1)
A Brief Review Self-Quiz	665	(1)
Harmonic Sequences III: Chromatic Elaborations of Diatonic Sequences	666	(19)
Fifth-Related Chromatic Sequences	667	(2)
The Role of Diatonic Tetrachords in Stepwise Chromatic Sequences	669	(2)
Chromatic Elaborations of Diatonic Stepwise Sequences	671	(8)
Extended Use of Chromatic 5-6 Sequences	679	(6)
Terms and Concepts for Review	682	(1)
A Brief Review Self-Quiz	683	(2)
Analytical Comments on Wagner's Tristan Prelude	685	(18)
PART FOUR ADVANCED CHROMATIC TECHNIQUES
Chromatic Voice Leading	703	(16)
Sequences Based on Half-Step Movement	704	(2)
Strict Chromatic Parallelism	706	(2)
Chromaticism by Contrary Motion	708	(5)
Non-sequential Chromatic Passages	713	(1)
Extended Use of Non-sequential Chromaticism	714	(5)
Terms and Concepts for Review	717	(1)
A Brief Review Self-Quiz	717	(2)
Modulations to Foreign Keys II	719	(16)
Enharmonic Modulation	719	(7)
Chromatic Alterations of Diminished Seventh Chords	726	(1)
Modulation by Strict Harmonic Sequence	727	(2)
Modulation by Chromatic Linear Progression	729	(6)
Terms and Concepts for Review	733	(1)
A Brief Review Self-Quiz	733	(2)
Symmetrical Divisions of the Octave	735	(19)
Symmetrical Root Movements	737	(7)
Extended Root Movement by Perfect 5th	744	(2)
The Omnibus Sequence	746	(3)
Tonal Schemes Using Symmetrical Divisions of the Octave	749	(5)
Terms and Concepts for Review	752	(1)
A Brief Review Self-Quiz	752	(2)
At the Limits of Tonality: Alban Berg's Four Songs, OP. 2	754
Terms and Concepts for Review	771
APPENDIX 1 Some Fundamentals of Acoustics
Frequency and Pitch	A0	(1)
Intensity and Loudness	A2	(1)
Vibration Form and Timbre	A3	(1)
Duration and Length	A5	(1)
APPENDIX 2 The Diatonic Church Modes and Other Scales	A6	(1)
The Ecclesiastical or Church Modes	A6	(1)
Other Scales	A9	(1)
APPENDIX 3 An Introduction to Species Counterpoint	A14	(1)
Melodic Characteristics	A16	(1)
First Species	A16	(1)
Second Species	A19	(1)
Third Species	A21	(1)
Fourth Species	A22	(1)
Fifth Species	A23	(1)
Underlying Species Technique in Two-Voice Passages	A25	(1)
APPENDIX 4 Chord Symbols for Jazz and Commercial Music	A26	(1)
Triads	A26	(1)
Seventh Chords	A27	(1)
Extended Tertian Chords	A28	(1)
APPENDIX 5 Conducting Patterns	A31	(1)
Duple Meter	A32	(1)
Triple Meter	A32	(1)
Quadruple Meter	A32	(1)
Single Meter	A33	(1)
Quintuple Meter	A33	(1)
Sextuple Meter or Divided Beat	A34	(1)
Complex Meters	A34	(1)
APPENDIX 6 Transposing Instruments	A35	(1)
Concert Instruments	A35	(1)
Transposing Instruments	A36	(1)
Classical Brass Instruments, Crooks, and Transpositions	A37	(1)
Answers to Review Self-Quizzes	A39	(1)
Glossary	A87	(1)
Index of Music Examples	A91	(1)
Credits	A100	(1)
Index	A102