Graduate review of tonal theory: a recasting of common-practice harmony, form, and counterpoint
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York [u.a.]
Oxford Univ. Press
2010 [erschienen] 2009
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Includes index. |
| Physical Description: | XIV, 270 S. zahlr. Notenbeisp. 1 DVD (12 cm) |
| ISBN: | 9780195376982 |
Staff View
MARC
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| 100 | 1 | |a Laitz, Steven G. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Graduate review of tonal theory |b a recasting of common-practice harmony, form, and counterpoint |c Steven G. Laitz ; Christopher Bartlette |
| 264 | 1 | |a New York [u.a.] |b Oxford Univ. Press |c 2010 [erschienen] 2009 | |
| 300 | |a XIV, 270 S. |b zahlr. Notenbeisp. |e 1 DVD (12 cm) | ||
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| 500 | |a Includes index. | ||
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| 650 | 4 | |a Counterpoint | |
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Record in the Search Index
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|---|---|
| adam_text | CONTENTS
Preface
xi
Setting the Stage
1
PART
1
CONTEXTUALIZING THEORY AND ANALYSIS:
_______
FUNDAMENTALS
____________________________
1 Musical Time and Space
10
The Metrical Realm
10
Accent in Music
11
Metrical Disturbance
14
The Pitch Realm
15
Pitches and Pitch Classes
15
Scales
17
Keys
19
Intervals
20
Consonance and Dissonance
22
Melody: Characteristics and Writing
23
2
Harnessing Musical Time and Space
25
Species Counterpoint
25
Hrst-Species
(1:1)
Counterpoint
26
Contrapuntal Motions
26
Rules and Guidelines for First-Species Counterpoint
28
Second-Species
(2:1)
Counterpoint
28
Rules and Guidelines for Second-Species Counterpoint
29
Adding Voices: Triads and Seventh Chords
30
Triads
30
Figured Bass
31
Triads and the Scale: Harmonic Analysis
34
Seventh Chords
35
Musical Texture
36
CONTENTS
3
When Harmony, Melody, and Rhythm Converge
39
Tonal Hierarchy in Music
39
Tones of Figuration
41
Melodic Fluency
41
PART
2
DIATONIC HARMONY: FUNCTIONS, EXPANSIONS,
________
AND THE PHRASE MODEL
_______________________
4
Composition and Analysis: Using I, V, and V7
45
Tonic and Dominant as Tonal Pillars and Introduction to Voice
Leading
45
The Cadence
46
Introduction to Voice Leading
47
Texture and Register
47
Spacing
48
Summary of Voice-Leading Rules and Guidelines
48
The Dominant Seventh and Chordal Dissonance
50
Part Writing with the Dominant Seventh Chord
51
Analytical Extension: The Interaction of Harmony, Melody, Meter,
and Rhythm
52
Embellishment
52
Reduction
54
Second-Level Analysis
55
5
Contrapuntal Expansions of Tonic and Dominant
58
Contrapuntal Expansions with First-Inversion Triads
58
Chordal Leaps in the Bass: I6 and V6
58
Neighboring Tones in the Bass: V6
60
Structural and Subordinate Harmonies
61
Passing Tones in the Bass:
vii06
and IV6
62
Tonic Expansion with Arpeggiating Bass: IV6
64
Contrapuntal Expansions with Seventh Chords
64
V7 and Its Inversions
64
Voice-Leading Inversions of V7
67
Leading Tone Seventh Chords: vii°7
67
Analytical Extension: Invertible Counterpoint
69
Invertible Counterpoint Below the Music s Surface
70
6
The Pre-Dominant, the Phrase Model,
and Additional Embellishments
73
The Pre-Dominant Function
73
The Subdominant (IV in Major,
iv
in Minor)
74
The Supertonic (ii in Major, iiQ in Minor)
75
Part Writing Pre-Dominants
77
Extending the Pre-Dominant
77
Introduction to the Phrase Model
78
CONTENTS
Accented and Chromatic Dissonances
80
Accented Passing Tone (p
) 81
Chromatic Passing Tone
81
Accented Neighbor Tone (N)
82
Chromatic Neighbor Tone
82
Appoggiatura (APP)
82
Suspension (S)
83
Anticipation (ANT)
85
Pedal (PED)
86
Analytical Extension: Revisiting the
Subdominant
86
Contrapuntal Expansion with IV
86
Piagai
Cadence
87
PART
3
ELABORATING THE PHRASE MODEL
________
AND COMBINING PHRASES
____________________
7
Six-Four Chords,
Nondominant
Seventh Chords,
and Refining the Phrase Model
88
Six-Four Chords
88
Unaccented Six-Four Chords
88
Accented Six-Four Chords
92
Writing Six-Four Chords
93
Summary of Contrapuntal Expansions
94
Nondominant
Seventh Chords: IV7 (TVf
)
and ii7
(ii|)
96
Part Writing
Nondominant
Seventh Chords
97
Embedding the Phrase Model
98
Analytical Extension: Expanding the Pre-Dominant
100
8
The Submediant and Mediant Harmonies
102
The Submediant
(vi
in Major, VI in Minor):
102
The Submediant as Bridge in the Descending-Thirds
Progression
102
The Submediant in the Descending Circle-of-Fifths
Progression
103
The Submediant as Tonic Substitute in the Ascending-Seconds
Progression
104
The Submediant as the Pre-Dominant
106
Voice Leading for the Submediant
106
The Step Descent in the Bass
107
Mediant
(iii
in Major,
ΠΙ
in Minor)
108
A Special Case: Preparing the
ΠΙ
Chord in Minor
110
Voice Leading for the Mediant 111
General Summary of Harmonic Progression 111
Analytical Extension: The Back-Relating Dominant 111
CONTENTS
9
The Period, the Double Period, and the Sentence
114
The Period
114
Types of Periods
115
Period Labels
118
The Double Period
120
The Sentence
121
Analytical Extension: Modified Periods
122
10
Harmonic Sequences: Concepts and Patterns
126
Components and Types of Sequences
127
The Descending-Fifths Sequence
(-5/4-4) 128
The Pachelbel, or Descending
5-6,
Sequence
(-4/4-2) 129
The Ascending-Fifths Sequence (4-5/-4)
130
The Ascending
5-6
Sequence
(-3/4-4) 130
Sequences with Diatonic Seventh Chords
131
Writing Sequences
132
Analytical Extension: Melodic Sequences
and Compound Melody
133
PART
4
CHROMATICISM AND LARGER FORMS
________
11
Applied Chords and Tonicization
137
Applied Dominant Chords
138
Applied Chords in Inversion
139
Voice Leading for Applied Dominant Chords
139
Applied Leading-Tone Chords
141
Extended Tonicization
141
Analytical Extension: Sequences with Applied Chords
144
The
(-5/4-4)
Sequence
144
The
(-4/4-2)
Sequence
145
The
(-3/4-4)
Sequence
147
12
Modulation and Binary Form
148
Modulation
148
Closely Related Keys
149
Analyzing Modulations
149
Writing Modulations
150
Modulation in the Larger Musical Context
151
The Sequence as a Tool in Modulation
153
Binary Form
156
Balanced Binary Form
159
Summary of Binary Form Types
159
Analytical Extension: Binary Form in Baroque Dance Suites
160
CONTENTS
к
13 Expressive
Chromaticism:
Modal
Mixture
and Chromatic Modulation
163
Modal Mixture
163
Altered Pre-Dominant Harmonies:
iv
and ii°
165
Altered Submediant Harmony: I>VI
166
Altered Tonic Harmony:
і
167
Altered Mediant Harmony:
ЙП
168
Voice Leading for Mixture Harmonies
169
Piagai
Motions
170
Modal Mixture, Applied Chords,
and Other Chromatic Harmonies
171
Expansion of Modal Mixture Harmonies: Chromatic Modulation
172
Chromatic Pivot-Chord Modulations
172
Writing Chromatic Pivot-Chord Modulations
174
Unprepared and Common-Tone Chromatic Modulations
174
Analytical Extension: Modal Mixture and Text-Music Relations
176
Analytical Payoff: The Dramatic Role of Krl
182
14
Two Important Chromatic Harmonies: The Neapolitan Chord
and the Augmented Sixth Chord
183
The Neapolitan Chord
183
Writing the Neapolitan Chord
185
Other Uses for the Neapolitan Chord
185
The Augmented Sixth Chord
186
Types of Augmented Sixth Chords
187
Writing Augmented Sixth Chords
188
I VE and the Gerf chord
189
The Augmented Sixth Chord as a Pivot Chord
190
Analytical Extension: Prolongation with
Ш
and
+6
Chords
192
Augmented Sixth Chords as Part of PD Expansions
194
15
Ternary and Sonata Forms
197
Ternary Form
197
Transitions and
Retransitions
203
Da Capo Form: Compound Ternary Form
205
Minuet-Trio Form
206
Sonata Form
208
The Binary Model for Sonata Form
209
Transition
212
Closing Section
213
Development and
Retransition
213
Recapitulation and Coda
214
Analytical Extension: Motivic Expansion
214
Exposition
222
Development
223
CONTENTS
Appendix A Additional Formal Procedures
225
Subphrases
and Composite Phrases
225
Variation Techniques
228
Continuous Variations
228
Sectional Variations
234
Ternary Form and the Nineteenth-Century Character Piece
240
Rondo
244
The Classical Rondo
244
Five-Part Rondo
245
Coda, Transitions, and
Retransitions
250
Compound Rondo Form
250
Seven-Part Rondo
250
Further Characteristics of Sonata Form
251
Monothematic Sonata Form
251
The Slow Introduction
252
Other Tonal Strategies
253
Appendix
В
Glossary of Abbreviations
254
Appendix
С
Terminological Equivalents
256
Appendix
D
Listing of DVD Text and Workbook Examples
259
Index of Terms and Concepts
263
|
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| spelling | Laitz, Steven G. Verfasser aut Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint Steven G. Laitz ; Christopher Bartlette New York [u.a.] Oxford Univ. Press 2010 [erschienen] 2009 XIV, 270 S. zahlr. Notenbeisp. 1 DVD (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes index. Music theory Harmony Counterpoint Musical form Harmonielehre (DE-588)4129028-8 gnd rswk-swf Kontrapunkt (DE-588)4032307-9 gnd rswk-swf (DE-588)4123623-3 Lehrbuch gnd-content Harmonielehre (DE-588)4129028-8 s DE-604 Kontrapunkt (DE-588)4032307-9 s Bartlette, Christopher Verfasser aut Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017133661&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Laitz, Steven G. Bartlette, Christopher Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint Music theory Harmony Counterpoint Musical form Harmonielehre (DE-588)4129028-8 gnd Kontrapunkt (DE-588)4032307-9 gnd |
| subject_GND | (DE-588)4129028-8 (DE-588)4032307-9 (DE-588)4123623-3 |
| title | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint |
| title_auth | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint |
| title_exact_search | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint |
| title_full | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint Steven G. Laitz ; Christopher Bartlette |
| title_fullStr | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint Steven G. Laitz ; Christopher Bartlette |
| title_full_unstemmed | Graduate review of tonal theory a recasting of common-practice harmony, form, and counterpoint Steven G. Laitz ; Christopher Bartlette |
| title_short | Graduate review of tonal theory |
| title_sort | graduate review of tonal theory a recasting of common practice harmony form and counterpoint |
| title_sub | a recasting of common-practice harmony, form, and counterpoint |
| topic | Music theory Harmony Counterpoint Musical form Harmonielehre (DE-588)4129028-8 gnd Kontrapunkt (DE-588)4032307-9 gnd |
| topic_facet | Music theory Harmony Counterpoint Musical form Harmonielehre Kontrapunkt Lehrbuch |
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