Harmony in Context https://www.mheducation.com/cover-images/Jpeg_400-high/0073137944.jpeg 2 9780073137940 Music Theory Made Relevant Designed for undergraduate music majors, Harmony in Context 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 anthology encompass a wide variety of different composers and repertoires. A clear and visually attractive layout, as well as the use of section and subsection headings and lists where appropriate, are essential aspects that contribute to the effective organization of this book. Recordings for all the musical examples from the literature included in both the book and the anthology are available on the book's Online Learning Center.
Harmony in Context

Harmony in Context

2nd Edition
By Miguel Roig-Francoli
ISBN10: 0073137944
ISBN13: 9780073137940
Copyright: 2011

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ISBN10: 0073137944 | ISBN13: 9780073137940



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ISBN10: 1260169766 | ISBN13: 9781260169768



The estimated amount of time this product will be on the market is based on a number of factors, including faculty input to instructional design and the prior revision cycle and updates to academic research-which typically results in a revision cycle ranging from every two to four years for this product. Pricing subject to change at any time.

Program Details


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