Harmony in context / Miguel A. Roig-Francolí.
| Author/creator | Roig-Francolí, Miguel A., 1953- |
| Format | Book |
| Edition | Second edition. |
| Publication Info | New York : McGraw-Hill, ©2011. |
| Description | xvii, 776 pages : illustrations, music ; 24 cm |
| Subjects |
| Contents | Introduction: The fundamentals of music. Pitch, notation and intervals ; Rhythm and meter ; Tonality: scales and keys ; The rudiments of harmony I: triads and seventh chords ; The rudiments of harmony II: labeling chords; Musical texture ; Introduction to species counterpoint -- Diatonic harmony. The connection of chords ; The tonic and dominant triads in root position ; Harmonic function; The subdominant triad in root position ; Triads in first inversion ; The supertonic; Melody harmonization ; Nonchord tones ; 6/4 chords ; The dominant seventh ; The leading-tone triad ; Cadences ; Melodic organization I: phrase structure ; Melodic organization II: thematic development, phrase extension ; Harmonic rhythm; Metric reduction ; The mediant, submediant, and subtonic triads ; Other diatonic seventh chords ; Harmonic sequences -- Chromatic harmony and form. Secondary dominants I ; Secondary dominants II ; Secondary leading-tone chords ; Modulation to closely related keys ; Small forms: Binary and ternary; Variation forms ; Contrapuntal genres ; Modal mixture ; The neapolitan chord ; Augmented sixth chords ; Chromatic modulatory techniques: modulation to distantly related keys I ; Modulation to distantly related keys II; Linear chromaticism I ; Introduction to large forms ; Expanding functional tonality; Extended tertian chords; Linear chromaticism II ; The German Romantic Lied: chromatic harmony in context ; Toward (and beyond) the limits of functional tonality. |
| Contents | Introduction: the fundamentals of music. Pitch: notation and intervals. The notation of pitch ; Intervals ; Consonant and dissonant intervals -- 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 -- Tonality: scales and keys. Modes and scales ; Key signatures ; Other modes and scales -- The rudiments of harmony I: triads and seventh chords. Chords ; Triads ; Seventh chords -- The rudiments of harmony II: labeling chords; musical texture. Harmonic function, Roman numerals ; Figured bass ; Musical texture -- 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. 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? -- 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 -- 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 -- Triads in first inversion. The triad in first inversion: uses and functions ; The neighbor V₆ ; Characteristic soprano-bass patterns ; Pitch patterns -- 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 -- Nonchord tones. The passing tone ; The neighbor tone ; The anticipation ; Incomplete neighbors ; Suspensions ; Pedal points -- 6/4 chords. Consonant 6/4 chords: the arpeggiated 6/4 ; Dissonant 6/4 chords ; The neighbor 6/4 ; The passing 6/4 ; The cadential 6/4 ; Characteristic soprano-bass patterns ; Elaborating the I-V-I progression ; Pitch patterns -- 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 -- 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 -- Cadences. Authentic cadences ; The half cadence ; The plagal cadence ; The deceptive cadence ; Pitch patterns -- Melodic organization I: phrase structure. Motive ; Phrase ; Period structure ; Form diagrams ; More on period structure ; Phrase group -- Melodic organization II: thematic development; phrase extension. Melodic development techniques ; Phrase extension -- Harmonic rhythm; metric reduction. Harmonic rhythm ; Metric reduction ; Compound melody ; Writing your own progressions -- 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 -- 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 -- Harmonic sequences. The descending circle-of-fifths sequence ; The ascending circle-of-fifth 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. Secondary dominants I. Chromatic harmony ; Tonicization: secondary dominants ; V₇ of V ; V₇ of IV ; Characteristic soprano-bass patterns ; Elaborating the I-V-I progression ; Pitch patterns -- 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 -- Secondary leading-tone chords. Secondary leading-tone seventh chords ; Secondary vii°₇ over a pedal point ; The vii°₇ over a pedal point ; Elaborating the I-V-I progression ; A chromatic harmonization of a diatonic tune: Bach, Chorale 21 ; Pitch patterns -- 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 -- 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 -- Contrapuntal genres. The two-voice inventions ; 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 -- 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 -- 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 -- 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 -- 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 -- Modulation to distantly related keys II; linear chromaticism I. Chromatic third relationships ; Triads 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 -- 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) -- 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-fifths sequence ; Nonsequential linear processes ; Pitch patterns -- 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 -- 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. |
| Abstract | Designed for undergraduate music majors, this book provides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and supplemental workbook/anthology encompass a wide variety of composers and repertoires and illustrate virtually every concept introduced and discussed throughout the book. Students will particularly appreciate the clarity of the presentation and the attractiveness of the text's layout, both of which enable a smooth progression through the material. Chapters have been reorganized and streamlined for clarity and focus; chapters on the supertonic, nonchord tones, 6/4 chords, and the dominant seventh are presented earlier in the text; harmonic sequences are presented in their own chapter, and Neapolitan and augmented sxith chords are presented in two separate chapters; two new sections appearing in most harmonic chapters, "Characteristic soprano-bass patterns" and "Elaborating the I-V-I progression," help guide students through the study of harmonic structure; new sections outlining step-by-step spelling procedures for particular chords, including secondary dominants and secondary diminished chords, have been added; and all of the musical examples in the text and the anthology are available as MP3 files. |
| General note | Includes indexes. |
| LCCN | 2009050028 |
| ISBN | 9780073137940 (hardcover ; alk. paper) |
| ISBN | 0073137944 (hardcover ; alk. paper) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Course Reference | MT50 .R689 2011 | ✔ Available |