Harmony & voice leading / Edward Aldwell, Carl Schachter.
| Author/creator | Aldwell, Edward |
| Other author | Schachter, Carl, author. |
| Format | Book |
| Edition | Third edition. |
| Publication Info | Australia ; United States : Thomson/Schirmer, ©2003. |
| Description | xiv, 656 pages : illustrations ; 25 cm |
| Subjects |
| Variant title | Harmony and voice leading |
| Contents | Part I: The primary materials and procedures -- Part II: I-V-I and its elaborations -- Part III: 5/3, 6/3, and 6/4 techniques -- Part IV: Elements of figuration -- Part V: Dissonance and chromaticism I -- Part VI: Dissonance and chromaticism II. |
| Contents | Part I. The primary materials and procedures. Keys, scales, and modes. Tonal relationships, major keys ; Minor keys, modes, tonality -- Intervals. Recognizing and constructing intervals ; The overtone series ; Consonance and dissonance ; Intervals in a key -- Rhythm and meter. Rhythmic organization ; Rhythm and dissonance treatment -- Triads and seventh chords. Triads ; Seventh chords ; Texture and structure -- Procedures of four-part writing. Chord construction ; Voice leading -- Part II. I-V-I and its elaborations. I, V, and V⁷. Tonic and dominant ; I-V-I in four parts ; The dominant seventh -- I⁶, V⁶, and VII⁶. I⁶ and V⁶ ; VII⁶ (leading-tone triad) -- Inversions of V⁷. V6/5, V4/3, and V4/2 ; Contrapuntal expansions of tonic and dominant -- Leading to V: IV, II, and II⁶. Intermediate harmonies ; IV and II in contrapuntal progressions ; Expansions of II and IV ; Harmonic syntax, rhythmic implications -- The cadential 6/4. An intensification of V -- VI and IV⁶. Uses of VI ; Uses of IV⁶ -- Supertonic and subdominant seventh chords. Supertonic seventh chords ; Subdominant seventh chords -- Other uses of IV, IV⁶, and VI. IV and IV⁶ ; VI -- V as a key area. Tonicization and modulation ; Applications to written work -- III and VII. Use of III ; Use of VII -- Part III. 5/3, 6/3, and 6/4 techniques. 5/3-chord techniques. Progressions by 5ths and 3rds ; Contrapuntal chord functions ; V as a minor triad -- Diatonic sequences. Compositional functions ; Sequences with descending 5ths ; Sequences with ascending 5ths ; Sequences using the ascending 5-6 technique ; Sequences falling in 3rds (descending 5-6) ; Less frequent sequential patterns ; Sequences leading to tonicized V ; Sequences in minor -- 6/3-chord techniques. 6/3 chords in parallel motion ; Other uses of 6/3 chords -- 6/4-chord techniques. Dissonant 6/4 chords ; Special treatment of cadential 6/4 chords ; Consonant 6/4 chords ; Some special cases -- Part IV. Elements of figuration. Melodic figuration. Chordal skips (arpeggios) ; Passing and neighbor tones -- Rhythmic figuration. Suspensions ; Anticipations ; The pedal point -- Part V. Dissonance and chromaticism I. Leading-tone seventh chords. The diminished seventh chord ; The half-diminished seventh chord -- Mixture. Combining modes -- Remaining uses of seventh chords. Seventh chords in sequence ; Expanded treatment of seventh chords ; Apparent seventh chords -- Applied V and VII. Applied chords ; Chords applied to V ; Other applied chords ; Applied chords in sequence -- Diatonic modulation. Modulatory techniques ; Modulation, large-scale motion, and form -- Part VI. Dissonance and chromaticism II. Seventh chords with added dissonance. Ninths ; "Elevenths" and "thirteenths" -- The Phrygian II (Neapolitan). A chord leading to V ; Other uses of (flat)II ; Chromatic notation -- Augmented sixth chords. A chromatic preparation for V ; Approaching augmented sixth chords ; Details of voice leading ; Augmented sixths and modulation ; "Inversions" of augmented sixth chords ; Motion to applied dominants and nondominant chords ; German sixth and dominant seventh -- Other chromatic chords. Advanced uses of mixture ; Augmented triads ; Altered dominant seventh chords ; Common-tone diminished seventh chords ; Other chromatic embellishing chords -- Chromatic voice-leading techniques. Chromaticism based on parallel motion ; Chromaticism based on contrary motion ; Equal subdivisions of the octave -- Chromaticism in larger contexts. New modulatory techniques ; Chromatic tonal areas -- Appendix I. Keyboard progressions -- Appendix II. Score reduction. |
| Abstract | This book is a comprehensive volume that spans the entire harmony component of the music theory course. Starting with the basics of harmony and taking students through progressively more difficult material, this text helps readers make connections between the details and the broad, inclusive plan of a musical composition. Emphasizing the linear aspects of music as much as the harmonic, this text introduces large-scale progressions (both linear and harmonic) at an early stage. Other highlights of this book include: numerous examples from the literature, almost all of them containing only usages that students already know; exercises (ranging from fairly simple to quite difficult) that reflect a variety of styles, from the Bach chorale to late nineteenth-century chromaticism; two available workbooks that give students invaluable practice on key concepts covered in the text and that include new exercises requiring students to set texts; a number of new exercises of a quasi-compositional nature that give students experience in writing phrases and phrase groups; a new appendix that provides instruction on making simple score reductions; newly expanded treatment of phrase rhythm and phrase organization; and a new audio CD component that includes performances of excerpts from the literature in the textbook. |
| Local note | JOYNER MUSIC LIBRARY -- Textbook only. |
| General note | Includes indexes. |
| LCCN | 2002537209 |
| ISBN | 0155062425 |
| ISBN | 9780155062429 |
| ISBN | 0155062263 (v. 1 wkbk) |
| ISBN | 9780155062269 (v. 1 wkbk) |
| ISBN | 0155062344 (v. 2 wkbk) |
| ISBN | 9780155062344 (v. 2 wkbk) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Course Reference | MT50.A46 H3 2003 | ✔ Available |