Harmony in context:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York
McGraw-Hill
2011
|
| Edition: | 2. ed. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XVII, 776 S. zahlr. Notenbeisp. |
| ISBN: | 9780073137940 |
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MARC
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| 264 | 1 | |a New York |b McGraw-Hill |c 2011 | |
| 300 | |a XVII, 776 S. |b zahlr. Notenbeisp. | ||
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Record in the Search Index
| _version_ | 1804143309549993984 |
|---|---|
| adam_text | Contents
Preface
χ
A Message to the Student: Why Do We Study-
Music Theory?
xv
Acknowledgments
xvi
Introduction:
The Fundamentals of Music
J
Chapter A Pitch: Notation and
Intervals
2
The Notation of Pitch
2
Intervals
4
Consonant and Dissonant Intervals
14
Chapter
В
Rhythm and Meter
19
Durational Symbols
19
Pulse, Beat, and Meter
21
Tempo
22
Simple and Compound Meters
22
The Notation of Meter
23
Metric Accent
25
Choosing a Meter to
Notate
a Melody
26
Asymmetrical Meters
27
Irregular Divisions of the Beat
28
Irregular Rhythmic and Metric
Relationships
29
Some Notes on the Correct Notation of
Rhythm
32
Chapter
С
Tonality: Scales and Keys
38
Modes and Scales
39
Key Signatures
42
Other Modes and Scales
46
Chapter
D
The Rudiments of Harmony I:
Triads and Seventh Chords
55
Chords
55
Triads
57
Seventh Chords
60
Chapter
E
The Rudiments of Harmony II:
Labeling Chords; Musical Texture
68
Harmonic Function, Roman Numerals
68
Figured Bass
70
Musical Texture
73
Chapter
F
Introduction to Species
Counterpoint
84
The Melodic Line in Species Counterpoint
85
General Guidelines for Two-Part
Counterpoint
88
First Species
(1:1) 88
Second Species
(2:
1)
91
Third Species
(4:
1
) 93
Fourth Species (Syncopated)
95
Part
1
Diatonic Harmonx
105
Chapter
1
The Connection of Chords
106
Harmonic Progression
106
Notating,
Voicing, and Spacing Chords
110
Chord Connection: The Principles of
Part Writing
112
Voice-Leading Guidelines for the Three Basic
Types of Progression
118
Melodic Style
120
Voice Independence
121
Why All These Rules?
123
Chapter
2
The Tonic and Dominant Triads
in Root Position
129
The Tonic Triad
131
The Dominant Triad
131
The I-V-I Progression
131
Characteristic Soprano-Bass Patterns
134
The I-V-I Progression as a Form-Generating
Structure
135
Pitch Patterns
140
VI
Contents
Chapter
3
Harmonic Function; The
Subdominant
Triad in Root Position
145
The Basic Harmonic Functions
145
The
Subdominant
Triad
146
Characteristic Soprano-Bass Patterns
149
A Model to Elaborate the Fundamental Progression
151
Pitch Patterns
154
Chapter
4
Triads in First Inversion
159
The Triad in First Inversion: Uses and Function
159
The Neighbor V6
162
Characteristic Soprano-Bass Patterns
165
Elaborating the I-V-I Progression
166
Pitch Patterns
168
Chapter
5
The Supertonic; Melody
Harmonization
174
The Supertonic in Root Position
174
The Supertonic in First Inversion
176
Characteristic Soprano-Bass Patterns
178
Elaborating the I-V-I Progression
179
Harmonizing a Melody
179
Pitch Patterns
184
Chapter
6
Nonchord Tones
188
The Passing Tone
189
The Neighbor Note
192
The Anticipation
193
Incomplete Neighbors
193
Suspensions
197
Pedal Point
203
Chapter
7
I Chords
210
Consonant
5
Chords: The Arpeggiated
$ 210
Dissonant
$
Chords
212
The Neighbor
5 212
The Passing
$ 214
The Cadential I
215
Characteristic Soprano-Bass Patterns
220
Elaborating the I-V-I Progression
221
Pitch Patterns
222
Chapter
8
The Dominant Seventh
and Its Inversions
227
V7 in Root Position
227
Inversions of the Dominant Seventh
232
Characteristic Soprano-Bass Patterns
236
Elaborating the I-V-I Progression
237
Pitch Patterns
241
Chapter
9
The Leading-Tone Triad
248
Doubling and Voice Leading
248
The Passing vii°6
249
vii°6 as a Dominant Substitute
251
The Leading-Tone Cadence
252
Characteristic Soprano-Bass Patterns
254
Elaborating the I-V-I Progression
254
Pitch Patterns
255
Chapter
10
Cadences
260
Authentic Cadences
260
The Half Cadence
263
The
Piagai
Cadence
264
The Deceptive Cadence
265
Pitch Patterns
268
Chapter
11
Melodic Organization I:
Phrase Structure
274
Motive
274
Phrase
275
Period Structure
277
Form Diagrams
279
More on Period Structure
280
Phrase Group
283
Chapter
12
Melodic Organization II:
Thematic Development; Phrase
Extension
290
Melodic Developmental Techniques
290
Phrase Extension
298
Chapter
13
Harmonic Rhythm; Metric
Reduction
308
Harmonic Rhythm
308
Metric Reduction
314
Compound Melody
318
Writing Your Own Progressions
320
( onienis
vu
Chapter
14
The Mediant, Submediant, and
Subtonic Triads
330
The Mediant and Submediant Triads as
Prolongations of the Tonic
330
Other Uses of the Mediant and Submediant
334
The Subtonic
338
Characteristic Soprano-Bass Patterns
340
Elaborating the I-V-I Progression
342
Harmonizing a Melody with Keyboard Figuration
342
Pitch Patterns
348
Chapter
15
Other Diatonic Seventh Chords
354
General Doubling and Voice-Leading Guidelines
354
The Leading-Tone Sevenths
355
The Half-Diminished Seventh
356
The Fully-Diminished Seventh
357
The Supertonic Seventh
362
The
Subdominant
Seventh
367
Characteristic Soprano-Bass Patterns
370
Elaborating the I-V-I Progression
370
Pitch Patterns
372
Chapter
16
Harmonic Sequences
378
The Descending Circle-of-Sths Sequence
380
The Ascending Circle-of-Sths Sequence
385
Sequences by Descending 3rds
386
Sequences by Descending and Ascending Steps
388
A Summary of Harmonic Sequences: Elaborating the
I-V-I Progression
392
Pitch Patterns
393
Part
2
Chromatic Harmony and Form
399
Chapter
17
Secondary Dominants I
400
Chromatic Harmony
400
Tonicization: Secondary Dominants
402
V7ofV
403
V7 of IV
(iv) 407
Characteristic Soprano-Bass Patterns
410
Elaborating the I-V-I Progression
410
Pitch Patterns
412
Chapter
18
Secondary Dominants II
420
V7ofii
420
V7 of
vi
(VI)
422
V7 of Hi (HI)
425
V7ofVII
426
Characteristic Soprano-Bass Patterns
428
Elaborating the I-V-I Progression
428
Deceptive Resolutions of Secondary Dominants
429
Sequences with Secondary Dominants
429
Secondary Key Areas
435
Pitch Patterns
437
Chapter
19
Secondary Leading-Tone
Chords
445
Secondary Leading-Tone Seventh Chords
446
Secondary vii°7 Chords in Inversion
451
The vii°7 Over a Pedal Point
454
Elaborating the I-V-I Progression
455
A Chromatic Harmonization of a Diatonic Tune: Bach.
Chorale
21 456
Pitch Patterns
458
Chapter
20
Modulation to Closely
Related Keys
465
Key Relationships: Closely Related Keys
465
Diatonic Pivot Chord Modulation
467
Modulation to V
470
Modulation to the Relative Major and Minor
Keys
473
Writing Pivot Chord Modulations
477
Chromatic Modulation: Chromatic Pivot Chords
478
Writing Chromatic Modulations
479
Modulation and Phrase Structure: Sequential and Phrase
Modulation: Modulating Periods
481
Harmonizing Modulating Melodies
485
Pitch Patterns
488
Chapter
21
Small Forms: Binary and Ternary.
Variation Forms
498
The Binary Principle
498
Binary Tonal Types
499
Binary Formal Designs
501
The Ternary Principle
507
Variation Forms
511
Contents
Continuous
Variations
512
Sectional
Variations
516
Chapter
22
Contrapuntal Genres
525
The Two-Voice Invention
525
Bach: Invention no.
3,
in DM
526
The Fugue
529
Bach: Fugue no.
2
in Cm from The Well-Tempered
Clavier, I
532
Some Additional
Fugai
Techniques
534
The
Fugato
534
Chapter
23
Modal Mixture
541
Borrowing Chords from the Minor Mode in a Major
Key
542
Borrowing Chords from the Major Mode in a Minor
Key
549
Change of Mode
550
Characteristic Soprano-Bass Patterns and Elaborations
of the I-V-I Progression
552
Pitch Patterns
553
Chapter
24
The Neapolitan Chord
560
The Neapolitan Sixth
560
Tonicization of the Neapolitan
565
The Neapolitan in Root Position
565
Tritone
Substitution: The Neapolitan as a
Substitute for V7
567
Pitch Patterns
569
Chapter
25
Augmented Sixth Chords
574
General Features and Types of
+6
Chords
575
The Italian
+6 577
The German
+6 579
The French
+6 584
Other Types of
4-6
Chords
585
Summary
588
Tonal Relationship between the Neapolitan and
the
+6
Chords
589
Pitch Patterns
590
Chapter
26
Chromatic
Modulatory
Techniques:
Modulation to Distantly Related Keys I
597
Chromatic Pivot Chords
597
Writing Chromatic Pivot Chord Modulations
604
Modulation by Enharmonic Reinterpretation of
the Gr
+6 605
Writing Modulations with
+6
Chords
610
Modulation by Enharmonic Reinterpretation
ofvii°7
611
Writing Modulations with vii°7 Chords
614
Pitch Patterns
615
Chapter
27
Modulation to Distantly Related
Keys II; Linear Chromaticism I
627
Chromatic Third Relationships
627
Triads Related by Chromatic Third
628
Keys Related by Chromatic Third: Common-Tone
Modulation
630
Linear Chromaticism I: Linear Chromatic
Chords
634
Altered Triads
634
Augmented Sixth Chords with Dominant and
Embellishing Functions
636
The Common-Tone Diminished Seventh
Chord
641
Pitch Patterns
644
Chapter
28
Introduction to Large
Forms
651
Sonata Form
651
Mozart, Piano Sonata in CM, K.
309,
1
(Anthology, no.
25) 654
The Rondo
659
A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob.
XVI:37, III (Anthology, no.
21) 660
Chapter
29
Expanding Functional Tonality:
Extended Tertian Chords; Linear
Chromaticism II
667
Expanding Chordal Sonorities: Extended Tertian
Chords
667
Linear Chromaticism II: Linear Expansions of
Tonality
675
Appoggiatura
Chords
675
Chromatic Sequences Revisited
677
The Descending Circle-of-Sths Sequence
677
Nonsequential Linear Processes
685
Pitch Patterns
689
Contents ix
Chapter
30
The German Romantic Lied: Parsimonious Voice Leading: The PLR Model
729
Chromatic Harmony in Context
698
Beyond the Confines of Functional Tonality
737
The German Romantic Lied
698
Pitch Pauerns 740
Analysis
1 :
Schubert,
Erlkönig 699
Analysis
2:
Schumann,
Widmung 705 _________________________________________
Modulation by Enharmonic Reinterpretation of V+
707
Analysis
3 :
Wolf,
Das Verlassene Mägdlein 708
„. . „ .,,,,
Transposing Instruments
746
Pitch Patterns
712
v
ь
Chapter
31
Toward (and Beyond) the Limits Musical Example Index
751
of Functional Tonality
717
Subject
Шех 76
,
Tonal Ambiguity and Implied Tonality
717
Equal Divisions of the Octave
724
|
| any_adam_object | 1 |
| author | Roig Francolí, Miguel A. 1953- |
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| dewey-ones | 781 - General principles and musical forms |
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| dewey-search | 781.2/5 |
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| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
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| id | DE-604.BV036680871 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:45:37Z |
| institution | BVB |
| isbn | 9780073137940 |
| language | English |
| lccn | 2009050028 |
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| physical | XVII, 776 S. zahlr. Notenbeisp. |
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| record_format | marc |
| spelling | Roig Francolí, Miguel A. 1953- Verfasser (DE-588)105648411X aut Harmony in context Miguel A. Roig-Francolí 2. ed. New York McGraw-Hill 2011 XVII, 776 S. zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Harmony Textbooks Music theory Textbooks Harmonielehre (DE-588)4129028-8 gnd rswk-swf Harmonielehre (DE-588)4129028-8 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020599743&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Roig Francolí, Miguel A. 1953- Harmony in context Harmony Textbooks Music theory Textbooks Harmonielehre (DE-588)4129028-8 gnd |
| subject_GND | (DE-588)4129028-8 |
| title | Harmony in context |
| title_auth | Harmony in context |
| title_exact_search | Harmony in context |
| title_full | Harmony in context Miguel A. Roig-Francolí |
| title_fullStr | Harmony in context Miguel A. Roig-Francolí |
| title_full_unstemmed | Harmony in context Miguel A. Roig-Francolí |
| title_short | Harmony in context |
| title_sort | harmony in context |
| topic | Harmony Textbooks Music theory Textbooks Harmonielehre (DE-588)4129028-8 gnd |
| topic_facet | Harmony Textbooks Music theory Textbooks Harmonielehre |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020599743&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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