Harmony in Context

Cover Page
Title Page
Copyright Page
Dedication
About the Author
Contents
Preface
A Message to the Student: Why Do We Study Music Theory?
Acknowledgments
Introduction The Fundamentals of Music
	Chapter A Pich: Notation and Intervals
		The Notation of Pitch
		Intervals
		Consonant and Dissonant Intervals
	Chapter B 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
	Chapter C Tonality: Scales and Keys
		Modes and Scales
		Key Signatures
		Other Modes and Scales
	Chapter D The Rudiments of Harmony I: Triads and Seventh Chords
		Chords
		Triads
		Seventh Chords
	Chapter E The Rudiments of Harmony II: Labeling Chords; Musical Texture
		Harmonic Function, Roman Numerals
		Figured Bass
		Musical Texture
	Chapter F 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)
Part 1 Diatonic Harmony
	Chapter 1 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 Progression
		Melodic Style
		Voice Independence
		Why All These Rules?
	Chapter 2 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
	Chapter 3 Harmonic Function; The Subdominant Triad in Root Position
		The Basic Harmonic Functions
		The Subdominant Triad
		Characteristic Soprano-Bass Patterns
		A Model to Elaborate the Fundamental Progression
		Pitch Patterns
	Chapter 4 Triads in First Inversion
		The Triad in First Inversion: Uses and Function
		The Neighbor V6
		Characteristic Soprano-Bass Patterns
		Elaborating the I–V–I Progression
		Pitch Patterns
	Chapter 5 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
	Chapter 6 Nonchord Tones
		The Passing Tone
		The Neighbor Note
		The Anticipation
		Incomplete Neighbors
		Suspensions
		Pedal Point
	Chapter 7 64 Chords 210
		Consonant 64 Chords: The Arpeggiated 64
		Dissonant 64 Chords
		The Neighbor 64
		The Passing 64
		The Cadential 64
		Characteristic Soprano-Bass Patterns
		Elaborating the I–V–I Progression
		Pitch Patterns
	Chapter 8 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
	Chapter 9 The Leading-Tone Triad
		Doubling and Voice Leading
		The Passing vii°6
		vii°6 as a Dominant Substitute
		The Leading-Tone Cadence
		Characteristic Soprano-Bass Patterns
		Elaborating the I–V–I Progression
		Pitch Patterns
	Chapter 10 Cadences
		Authentic Cadences
		The Half Cadence
		The Plagal Cadence
		The Deceptive Cadence
		Pitch Patterns
	Chapter 11 Melodic Organization I: Phrase Structure
		Motive
		Phrase
		Period Structure
		Form Diagrams
		More on Period Structure
		Phrase Group
	Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension
		Melodic Developmental Techniques
		Phrase Extension
	Chapter 13 Harmonic Rhythm; Metric Reduction
		Harmonic Rhythm
		Metric Reduction
		Compound Melody
		Writing Your Own Progressions
	Chapter 14 The Mediant, Submediant, and Subtonic Triads
		The Mediant and Submediant Triads as Prolongations of the Tonic
		Other Uses of the Mediant and Submediant
		The Subtonic
		Characteristic Soprano-Bass Patterns
		Elaborating the I–V–I Progression
		Harmonizing a Melody with Keyboard Figuration
		Pitch Patterns
	Chapter 15 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
	Chapter 16 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
Part 2 Chromatic Harmony and Form
	Chapter 17 Secondary Dominants I
		Chromatic Harmony
		Tonicization: Secondary Dominants
		V7 of V
		V7 of IV (iv)
		Characteristic Soprano-Bass Patterns
		Elaborating the I–V–I Progression
		Pitch Patterns
	Chapter 18 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
	Chapter 19 Secondary Leading-Tone Chords
		Secondary Leading-Tone Seventh Chords
		Secondary vii7 Chords in Inversion
		The vii7 Over a Pedal Point
		Elaborating the I–V–I Progression
		A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale
		Pitch Patterns
	Chapter 20 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
	Chapter 21 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
	Chapter 22 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
	Chapter 23 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
	Chapter 24 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
	Chapter 25 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
	Chapter 26 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 vii°7
		Writing Modulations with vii°7 Chords
		Pitch Patterns
	Chapter 27 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
	Chapter 28 Introduction to Large Forms
		Sonata Form
		Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25)
		The Rondo
		A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21)
	Chapter 29 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
		The Descending Circle-of-5ths Sequence
		Nonsequential Linear Processes
		Pitch Patterns
	Chapter 30 The German Romantic Lied: Chromatic Harmony in Context
		The German Romantic Lied
		Analysis 1: Schubert, Erlkönig
		Analysis 2: Schumann, “Widmung”
		Modulation by Enharmonic Reinterpretation of V+
		Analysis 3: Wolf, “Das Verlassene Mägdlein”
		Pitch Patterns
	Chapter 31 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
Musical Example Index
Subject Index