Harmony in Context
, by Roig-Francoli, Miguel
- ISBN: 9780073137940 | 0073137944
- Cover: Hardcover
- Copyright: 1/19/2010
Music Theory Made Relevant Designed for undergraduate music majors,Harmony in Contextprovides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and anthology encompass a wide variety of different composers and repertoires. A clear and visually attractive layout, as well as the use of section and subsection headings and lists where appropriate, are essential aspects that contribute to the effective organization of this book. Recordings for all the musical examples from the literature included in both the book and the anthology are provided on separate CD sets.
| Preface | |
| A Message to the Student: Why Do We Study Music Theory? | |
| Introduction: The Fundamentals of Music | |
| Pitch: Notation and Intervals | |
| The Notation of Pitch | |
| Intervals | |
| Consonant and Dissonant Intervals | |
| 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 | |
| Tonality: Scales and Keys | |
| Modes and Scales | |
| Key Signatures | |
| Other Modes and Scales | |
| The Rudiments of Harmony I: Triads and Seventh Chords | |
| Chords | |
| Triads | |
| Seventh Chords | |
| The Rudiments of Harmony II: Labeling Chords. Musical Texture | |
| Harmonic Function, Roman Numerals | |
| Figured Bass | |
| Musical Texture | |
| 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) | |
| Diatonic Harmony | |
| 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 Progressions | |
| 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 | |
| Characteristic Soprano-Bass Patterns | |
| The I-V-I Progression as a Form-generating Structure | |
| Pitch Patterns | |
| Harmonic Function; the Subdominant Triad in Root Position | |
| The Basic Harmonic Functions | |
| The Subdominant Triad | |
| Voice-Leading Guidelines | |
| Characteristic Soprano-Bass Patterns | |
| A Model to Elaborate the Fundamental Progression | |
| Pitch Patterns | |
| Triads in First Inversion | |
| The Triad in First Inversion: Uses and Function | |
| The Neighbor V6 | |
| Elaborating the I-V-I Progression | |
| Voice-Leading Guidelines | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Pitch Patterns | |
| 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 | |
| Nonchord Tones | |
| The Passing Tone | |
| The Neighbor Note | |
| The Anticipation | |
| Incomplete Neighbors | |
| Voice-Leading Guidelines | |
| Suspensions | |
| Pedal Point | |
| 6/4 Chords | |
| Consonant 6/4 Chords: The Arpeggiated 6/4 | |
| Dissonant 6/4 Chords | |
| The Neighbor 6/4 | |
| The Passing 6/4 | |
| The Cadential 6/4 | |
| Voice-Leading Guidelines | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Pitch Patterns | |
| 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 | |
| The Leading-Tone Triad | |
| Doubling and Voice Leading | |
| The Passing viio6 | |
| viio6 as a Dominant Substitute | |
| The Leading-Tone Cadence | |
| Voice-Leading Guidelines | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Pitch Patterns | |
| Cadences | |
| Authentic Cadences | |
| The Half Cadence | |
| The Plagal Cadence | |
| The Deceptive Cadence | |
| Cadences: Summary and Voice Leading | |
| Pitch Patterns | |
| Melodic Organization I: Phrase Structure | |
| Motive | |
| Phrase | |
| Period Structure | |
| Form Diagrams | |
| More on Period Structure | |
| Phrase Group | |
| Melodic Organization II: Thematic | |
| Development; Phrase Extension | |
| Melodic Developmental Techniques | |
| Phrase Extension | |
| Harmonic Rhythm; Metric Reduction | |
| Harmonic Rhythm | |
| Metric Reduction | |
| Metric Reduction and Performance | |
| Compound Melody | |
| Writing Your Own Progresisons | |
| The Mediant, Submediant, and Subtonic Triads | |
| The Mediant and Submediant Triads as Prolongations of the Tonic | |
| Other Uses of the Mediant and Submediant | |
| Voice-Leading Guidelines | |
| The Subtonic | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Harmonizing a Melody with Keyboard Figuration | |
| 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 | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Pitch Patterns | |
| 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 | |
| Chromatic Harmony and Form | |
| Secondary Dominants I | |
| Chromatic Harmony | |
| Tonicization: Secondary Dominants | |
| Spelling Secondary Dominants | |
| V7 of V | |
| Voice-Leading Guidelines | |
| V7 of IV (iv) | |
| Characteristic Soprano-Bass Patterns | |
| Elaborating the I-V-I Progression | |
| Pitch Patterns | |
| 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 | |
| Secondary Leading-Tone Chords | |
| Secondary Leading-tone Seventh Chords | |
| Secondary viio7 Chords in Inversion | |
| The viio7 Over a Pedal Point | |
| Elaborating the I-V-I Progression | |
| 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 | |
| Chromatic Modulation: Chromatic Pivot Chords | |
| Writing Chromatic Modulations | |
| Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods | |
| Harmonizing Modulating Melodies | |
| Pitch Patterns | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 viio7 | |
| Writing Modulation with viio7 Chords | |
| Pitch Patterns | |
| 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 | |
| Introduction to Large Forms | |
| Sonata Form | |
| Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25) | |
| Guided Studies of Sonata Form | |
| The Rondo | |
| A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21) | |
| Guided Studies of Rondo Forms | |
| 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 | |
| Nonsequential Linear Processes | |
| Pitch Patterns | |
| The German Romantic Lied: Chromatic Harmony in Context | |
| The German Romantic Lied | |
| Schubert, Erlkonig | |
| Schumann, "Widmung" | |
| Modulation by Enharmonic Reinterpretation of V+ | |
| Wolf, "Das Verlassene Magdlein" | |
| Pitch Patterns | |
| 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 | |
| Subject Index | |
| Musical Example Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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