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Harmony in Context

Harmony in Context

  • 2nd Edition
By Miguel Roig-Francoli
Copyright: 2011

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ISBN10: 1260051641 | ISBN13: 9781260051643

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ISBN10: 0073137944 | ISBN13: 9780073137940


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ISBN10: 1260232522 | ISBN13: 9781260232523


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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