Harmony and Voice Leading,9780155062429

Harmony and Voice Leading

by ;
Edition: 3rd
ISBN13: 9780155062429
ISBN10: 0155062425
Format: Hardcover
Pub. Date: 2002-08-13
Publisher(s): Schirmer
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Summary

Part I: The Primary Materials and Procedures. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Procedures of Four-Part Writing. Part II: I-V-I and Its Elaborations. 6. I, V, and V7. 7. I6, V6, VII6. 8. Inversions of V7. 9. Leading to V, IV,II, and II7. 10. The Cadential 6/4. 11. VI and IV6. 12. Supertonic and Subdominant Seventh Chords. 13. Other Uses of IV, IV6, and VI. 14. V as a Key Area. 15. III and VII. Part III: 5/3, 6/3, and 6/4 Techniques. 16. 5/3-Chord Techniques. 17. Diatonic Sequences. 18. 6/3-Chord Techniques. 19. 6/4-Chord Techniques. Part IV: Elements of Figuration. 20. Melodic Figuration. 21. Rhythmic Figuration. Part V: Dissonance and Chromaticism I. 22. Leading-Tone Seventh Chords. 23. Mixture. 24. Remaining Uses of Seventh Chords. 25. Applied V and VII. 26. Diatonic Modulation. Part VI: Dissonance and Chromaticism II. 27. Seventh Chords with Added Dissonance. 28. The Phrygian II (Neapolitan). 29. Augmented Sixth Chords. 30. Other Chromatic Chords. 31. Chromatic Voice-Leading Techniques. 32. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Index of Musical Examples. Subject Index.

Table of Contents

Preface xiii
PART I THE PRIMARY MATERIALS AND PROCEDURES 1(80)
Key, Scales, and Modes
3(19)
Tonal Relationships; Major Keys
4(10)
Minor Keys; Modes; Tonality
14(6)
Exercises
20(2)
Intervals
22(14)
Recognizing and Constructing Intervals
22(3)
The Overtone Series
25(2)
Consonance and Dissonance
27(3)
Intervals in a Key
30(5)
Exercises
35(1)
Rhythm and Meter
36(11)
Rhythmic Organization
36(7)
Rhythm and Dissonance Treatment
43(2)
Exercises
45(2)
Triads and Seventh Chords
47(16)
Triads
48(8)
Seventh Chords
56(3)
Texture and Structure
59(2)
Exercises
61(2)
Procedures of Four-Part Writing
63(18)
Chord Construction
63(6)
Voice Leading
69(9)
Points for Review
78(1)
Exercises
79(2)
PART II I-V-I AND ITS ELABORATIONS 81(164)
I, V, and V7
83(14)
Tonic and Dominant
84(2)
I-V-1 in Four Parts
86(3)
The Dominant Seventh
89(5)
Points for Review
94(1)
Exercises
95(2)
I6,V6, and VII6
97(15)
I6 and V6
97(6)
VII6 (Leading-Tone Triad)
103(4)
Points for Review
107(1)
Exercises
107(5)
Inversions of V7
112(13)
V65, V43, and V42
112(6)
Contrapuntal Expansions of Tonic and Dominant
118(5)
Points for Review
123(1)
Exercises
123(2)
Leading to V: IV, II, and II6
125(21)
Intermediate Harmonies
125(8)
IV and II in Contrapuntal Progressions
133(3)
Expansions of II and IV
136(3)
Harmonic Syntax; Rhythmic Implications
139(3)
Points for Review
142(1)
Exercises
143(3)
The Cadential 64
146(12)
An. Intensification of V
146(9)
Points for Review
155(1)
Exercises
155(3)
VI and IV6
158(13)
Uses of VI
158(5)
Uses of IV6
163(4)
Points for Review
167(1)
Exercises
168(3)
Supertonic and Subdominant Seventh Chords
171(20)
Supertonic Seventh Chords
172(11)
Subdominant Seventh Chords
183(3)
Points for Review
186(2)
Exercises
188(3)
Other uses of IV, IV6, and VI
191(16)
IV and IV6
191(6)
VI
197(6)
Summary of Cadences
203(2)
Points for Review
205(1)
Exercises
205(2)
V as a key Area
207(19)
Tonicization and Modulation
208(14)
Applications to Written Work
222(2)
Points for Review
224(1)
Exercises
224(2)
III and VII
226(19)
Uses of VII
226(10)
Uses of VII
236(4)
Points for Review
240(1)
Exercises
241(4)
PART III 5/3, 6/3 AND 6/4 TECHNIQUES 245(82)
5/3-Chord Techniques
247(15)
Progressions by 5ths and 3rds
247(5)
Contrapuntal Chord Functions
252(6)
V as a Minor Triad
258(2)
Points for Review
260(1)
Exercises
261(1)
Diatonic Sequences
262(28)
Compositional Functions
263(4)
Sequences with Descending 5ths
267(3)
Sequences with Ascending 5ths
270(3)
Sequences Using the Ascending 5-6 Technique
273(3)
Sequences Falling in 3rds (Descending 5-6)
276(2)
Less Frequent Sequential Patterns
278(2)
Sequences Leading to Tonicized V
280(2)
Sequences in Minor
282(3)
Points for Review
285(2)
Exercises
287(3)
6/3-Chord Techniques
290(15)
6/3 Chords in Parallel Motion
291(6)
Other Uses of 6/3 Chords
297(6)
Points for Review
303(1)
Exercises
303(2)
6/4-Chord Techniques
305(22)
Dissonant 6/4 Chords
307(8)
Special Treatment of Cadential 6/4 Chords
315(5)
Consonant 6/4 Chords
320(2)
Some Special Cases
322(2)
Points for Review
324(1)
Exercises
324(3)
PART IV ELEMENTS OF FIGURATION 327(48)
Melodic Figuration
329(19)
Chordal Skips (Arpeggios)
331(3)
Passing and Neighboring Tones
334(11)
Points for Review
345(1)
Exercises
345(3)
Rhythmic Figuration
348(27)
Suspensions
348(17)
Anticipations
365(4)
The Pedal Point
369(2)
Points for Review
371(1)
Exercises
372(3)
PART V DISSONANCE AND CHROMATICISM I 375(94)
Leading-Tone Seventh Chords
377(13)
The Diminished Seventh Chord
378(7)
The Half-Diminished Seventh Chord
385(2)
Points for Review
387(1)
Exercises
388(2)
Mixture
390(14)
Combining Modes
390(11)
Points for Review
401(1)
Exercises
401(3)
Remaining uses of Seventh Chords
404(18)
Seventh Chords in Sequence
405(5)
Expanded Treatment of Seventh Chords
410(5)
Apparent Seventh Chords
415(5)
Points for Review
420(1)
Exercises
420(2)
Applied V and VII
422(26)
Applied Chords
423(3)
Chords Applied to V
426(6)
Other Applied Chords
432(5)
Applied Chords in Sequence
437(8)
Points for Review
445(1)
Exercises
445(3)
Diatonic Modulation
448(21)
Modulatory Techniques
448(6)
Modulation, Large-Scale Motion, and Form
454(8)
Points for Review
462(1)
Exercises
463(6)
PART VI DISSONANCE AND CHROMATICISM II 469(150)
Seventh Chords with Added Dissonance
471(19)
Ninths
471(10)
``Elevenths'' and ``Thirteenths''
481(6)
Points for Review
487(1)
Exercises
487(3)
The Phrygian II (Neapolitan)
490(22)
A Chord Leading to V
490(12)
Other Uses of II
502(3)
Chromatic Notation
505(3)
Points for Review
508(1)
Exercises
509(3)
Augmented Sixth Chords
512(28)
A Chromatic Preparation for V
513(5)
Approaching Augmented Sixth Chords
518(6)
Details of Voice Leading
524(2)
Augmented Sixths and Modulation
526(2)
``Inversions'' of Augmented Sixth Chords
528(3)
Motion to Applied Dominants and Nondominant Chords
531(3)
German Sixth and Dominant Seventh
534(2)
Points for Review
536(1)
Exercises
537(3)
Other Chromatic Chords
540(21)
Advanced Uses of Mixture
541(6)
Augmented Triads
547(5)
Altered Dominant Seventh Chords
552(1)
Common-Tone Diminished Seventh Chords
553(4)
Other Chromatic Embellishing Chords
557(1)
Points for Review
558(1)
Exercises
559(2)
Chromatic Voice-Leading Techniques
561(34)
Chromaticism Based on Parallel Motion
562(11)
Chromaticism Based on Contrary Motion
573(8)
Equal Divisions of the Octave
581(10)
Points for Review
591(1)
Exercises
592(3)
Chromaticism in Larger Contexts
595(24)
New Modulatory Techniques
595(9)
Chromatic Tonal Areas
604(11)
Points for Review
615(1)
Exercises
615(4)
Appendix I: Keyboard Progressions 619(20)
Appendix II: Score Reduction 639(4)
Index of Musical Examples 643(4)
Subject Index 647

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