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Harmony in Context. 9780073137940

Harmony in Context

McGraw-Hill. 2011

Ficha técnica

  • EAN: 9780073137940
  • ISBN: 978-0-07-313794-0
  • Editorial: McGraw-Hill
  • Fecha de edición: 2011
  • Encuadernación: Cartoné
  • Dimensiones: 21x24
  • Idioma: Inglés
  • Nº páginas: 776

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Second Edition.
- Presentation of theory with an emphasis on applications encourages students to develop creative and analytical thinking, helping them to apply processes, tonal direction, harmonic and formal function to create better performances.
- Employment of a diverse repertoire inspires students and encourages them to see the theoretical structure of music they hear everyday. Selections include numerous examples of music by women and by minority composers, and from various popular music repertoires.
- Use of a wide range of tonal repertoires integrates popular music into mainstream harmonic and formal theory.
- Comprehensive coverage features significant discussion of melody and phrase structure, and chapters on formal types, contrapuntal genres, and the Romantic Lied along with consideration of key tonal theory including counterpoint, rhythm, form, recent analytic approaches, and chromaticism.
- The general pedagogical and analytical approaches in the text are flexible and eclectic, combining functional context and Roman numerals with the study of linear procedures.
- Diversity of exercise types both in the worksheets at end of each chapter, and in the Workbook, teach students to solve a variety of musical problems, applying and developing different learning processes.
- Discussion of species counterpoint provides introduction to voice-leading in two voices and the concept of an outer-voice frame for later harmonic progressions.
- Thorough coverage of late-Romantic chromatic harmony provides students with the means to analyze and understand the late Romantic repertoire, incorporating current theoretical and analytical research on this period.

New to This Edition:
- Thorough chapter reorganization--including the incorporation of a separate chapter devoted to harmonic sequences, and an earlier introduction of the supertonic, non-chord tones, 6/4 chords, and the dominant seventh--clarifies the progression of ideas and concepts.
- Two new features, "Characteristic Soprano-Bass Patterns" and "Elaborating the I-V-I Progression," shows the most characteristic two-voice frames that can be harmonized with the relevant chord or chords and illustrates the use of particular chords in the elaboration of the basic I-V-I progression, providing a thread of continuity through the harmonic chapters in the book.
- New step-by-step spelling procedures for some particular chords (particularly secondary dominants, secondary diminished seventh chords, and augmented sixth chords) clarifies this important skill.
- Extended keyboard harmony sections, located at the end of each harmonic chapter in the workbook, improves coverage of this important topic.
- New reductive graphs (other than metric reductions) illustrate concepts without using Schenkerian-style graphic notation. Different levels of harmonic activity, for instance, are now indicated by different levels of Roman numerals under a conventionally-notated progression or score. Also, simpler formal line diagrams have replaced the more-complex looking formal bass reductions.
- Complete recordings for all examples in the text and the anthology are now available as downloadable mp3 files on this website.
- Supplemental student study materials are available as downloadable PDF files on this website.

Five supplemental chapters on Post-Tonal Music are available as a custom ebook or print purchase from McGraw-Hill. Instructions on how to order this additional material can be found on the instructor side of the Harmony in Context website.

CONTENIDO:

Preface

A Message to the Student: Why Do We Study Music Theory?

Introduction: The Fundamentals of Music

Chapter A Pitch: 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 I: 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 Progressions; 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; Voice-Leading Guidelines; 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; Elaborating the I-V-I Progression; Voice-Leading Guidelines; 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; Voice-Leading Guidelines; Suspensions; Pedal Point

Chapter 7: 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; Voice-Leading Guidelines; 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 viio6; viio6 as a Dominant Substitute; The Leading-Tone Cadence; Voice-Leading Guidelines; 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; Cadences: Summary and Voice Leading; 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; Metric Reduction and Performance; Compound Melody; Writing Your Own Progresisons;

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; Voice-Leading Guidelines; 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 II: Chromatic Harmony and Form

Chapter 17: Secondary Dominants I
Chromatic 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 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 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 Mozart 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 viio7; Writing Modulation with viio7 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); 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 Forms

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; Nonsequential Linear Processes; Pitch Patterns

Chapter 30: The German Romantic Lied: Chromatic Harmony in Context
The German Romantic Lied; Analysis 1: Schubert, Erlkonig; Analysis 2: Schumann, "Widmung"; Modulation by Enharmonic Reinterpretation of V+; Analysis 3: Wolf, "Das Verlassene Magdlein"; 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
- Subject Index
- Musical Example Index



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