Harmony in context (Book, 2011) [WorldCat.org]
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Harmony in context

Author: Miguel A Roig-Francolí
Publisher: New York : McGraw-Hill, 2011.
Edition/Format:   Print book : English : 2. edView all editions and formats
Summary:

Suitable for undergraduate music majors, this title presents the study of harmony, encouraging students to translate what they are learning into better performances and better listening. It also  Read more...

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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Miguel A Roig-Francolí
ISBN: 9780073137940 0073137944
OCLC Number: 705834729
Description: XVII, 776 Seiten : zahlreiche Notenbeispiele
Contents: PrefaceA Message to the Student: Why Do We Study Music Theory?Introduction: The Fundamentals of MusicChapter APitch: Notation and IntervalsThe Notation of Pitch;Intervals;Consonant and Dissonant IntervalsChapter BRhythm and MeterDurational 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 RhythmChapter CTonality: Scales and KeysModes and Scales;Key Signatures;Other Modes and Scales;Chapter DThe Rudiments of Harmony I: Triads and Seventh ChordsChords;Triads;Seventh Chords;Chapter EThe Rudiments of Harmony II: Labeling Chords. Musical TextureHarmonic Function, Roman Numerals;Figured Bass;Musical Texture;Chapter FIntroduction to Species CounterpointThe 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);Part I: Diatonic HarmonyChapter 1The Connection of ChordsHarmonic 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?Chapter 2The Tonic and Dominant Triads in Root PositionThe 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 PatternsChapter 3Harmonic Function; the Subdominant Triad in Root PositionThe Basic Harmonic Functions;The Subdominant Triad;Voice-Leading Guidelines;Characteristic Soprano-Bass Patterns;A Model to Elaborate the Fundamental Progression;Pitch PatternsChapter 4Triads in First InversionThe 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 PatternsChapter 5The Supertonic: Melody HarmonizationThe Supertonic in Root Position;The Supertonic in First Inversion;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Harmonizing a Melody;Pitch PatternsChapter 6Nonchord TonesThe Passing Tone;The Neighbor Note;The Anticipation;Incomplete Neighbors;Voice-Leading Guidelines;Suspensions;Pedal PointChapter 76/4 ChordsConsonant 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 PatternsChapter 8The Dominant Seventh and Its InversionsV7 in root position;Inversions of the Dominant Seventh;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 9The Leading-Tone TriadDoubling 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 PatternsChapter 10CadencesAuthentic Cadences;The Half Cadence;The Plagal Cadence;The Deceptive Cadence;Cadences: Summary and Voice Leading;Pitch PatternsChapter 11Melodic Organization I: Phrase StructureMotive;Phrase;Period Structure;Form Diagrams;More on Period Structure;Phrase GroupChapter 12Melodic Organization II: Thematic Development; Phrase Extension;Melodic Developmental Techniques;Phrase ExtensionChapter 13Harmonic Rhythm; Metric ReductionHarmonic Rhythm;Metric Reduction;Metric Reduction and Performance;Compound Melody;Writing Your Own Progresisons;Chapter 14The Mediant, Submediant, and Subtonic TriadsThe 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 PatternsChapter 15Other Diatonic Seventh ChordsGeneral 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 PatternsChapter 16Harmonic SequencesThe 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 PatternsPart II: Chromatic Harmony and Form Chapter 17Secondary Dominants IChromatic 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 PatternsChapter 18Secondary Dominants IIV7 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 PatternsChapter 19Secondary Leading-Tone ChordsSecondary 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 MozartPitch PatternsChapter 20Modulation to Closely-Related KeysKey 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 PatternsChapter 21Small Forms: Binary and Ternary; Variation FormsThe Binary Principle;Binary Tonal Types;Binary Formal Designs;The Ternary Principle;Variation Forms;Continuous Variations;Sectional VariationsChapter 22Contrapuntal GenresThe 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 FugatoChapter 23Modal MixtureBorrowing 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 PatternsChapter 24The Neapolitan ChordThe Neapolitan Sixth;Tonicization of the Neapolitan;The Neapolitan in Root Position;Tritone Substitution: The Neapolitan as a Substitute for V7;Pitch PatternsChapter 25Augmented Sixth ChordsGeneral 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 PatternsChapter 26Chromatic 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 PatternsChapter 27Modulation to Distantly-Related Keys II; Linear Chromaticism IChromatic 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 PatternsChapter 28Introduction to Large FormsSonata 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 FormsChapter 29Expanding 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 PatternsChapter 30The German Romantic Lied: Chromatic Harmony in ContextThe German Romantic Lied;Analysis 1: Schubert, Erlkonig;Analysis 2: Schumann, "Widmung";Modulation by Enharmonic Reinterpretation of V+;Analysis 3: Wolf, "Das Verlassene Magdlein";Pitch PatternsChapter 31Toward (and Beyond) the Limits of Functional TonalityTonal Ambiguity and Implied Tonality;Equal Divisions of the Octave;Parsimonious Voice Leading: The PLR Model;Beyond the Confines of Functional Tonality;Pitch PatternsAppendixTransposing InstrumentsSubject IndexMusical Example Index
Responsibility: Miguel A. Roig-Francolí.

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