Harmony and Voice Leading / Edition 4

Harmony and Voice Leading / Edition 4

3.0 5
by Edward Aldwell, Allen Cadwallader
     
 

Edward Aldwell and Carl Schachter's Harmony and Voice Leading, Third Edition, 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… See more details below

Overview

Edward Aldwell and Carl Schachter's Harmony and Voice Leading, Third Edition, 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. Reviewers have praised this text for its clarity, the musicality of its exercises, the high quality of the excerpts, and the analysis it offers.

Product Details

ISBN-13:
9780495189756
Publisher:
Cengage Learning
Publication date:
03/11/2010
Pages:
736
Sales rank:
154,655
Product dimensions:
8.20(w) x 9.90(h) x 1.40(d)

Table of Contents

Prefacexiii
Part IThe Primary Materials and Procedures1
1Key, Scales, and Modes3
Tonal Relationships; Major Keys4
Minor Keys; Modes; Tonality14
Exercises20
2Intervals22
Recognizing and Constructing Intervals22
The Overtone Series25
Consonance and Dissonance27
Intervals in a Key30
Exercises35
3Rhythm and Meter36
Rhythmic Organization36
Rhythm and Dissonance Treatment43
Exercises45
4Triads and Seventh Chords47
Triads48
Seventh Chords56
Texture and Structure59
Exercises61
5Procedures of Four-Part Writing63
Chord Construction63
Voice Leading69
Points for Review78
Exercises79
Part III-V-I and Its Elaborations81
6I, V, and V[superscript 7]83
Tonic and Dominant84
I-V-I in Four Parts86
The Dominant Seventh89
Points for Review94
Exercises95
7I[superscript 6], V[superscript 6], and VII[superscript 6]97
I[superscript 6] and V[superscript 6]97
VII[superscript 6] (Leading-Tone Triad)103
Points for Review107
Exercises107
8Inversions of V[superscript 7]112
V[superscript 6 subscript 5], V[superscript 4 subscript 3], and V[superscript 4 subscript 2]112
Contrapuntal Expansions of Tonic and Dominant118
Points for Review123
Exercises123
9Leading to V: IV, II, and II[superscript 6]125
Intermediate Harmonies125
IV and II in Contrapuntal Progressions133
Expansions of II and IV136
Harmonic Syntax; Rhythmic Implications139
Points for Review142
Exercises143
10The Cadential 6/4146
An Intensification of V146
Points for Review155
Exercises155
11VI and IV[superscript 6]158
Uses of VI158
Uses of IV[superscript 6]163
Points for Review167
Exercises168
12Supertonic and Subdominant Seventh Chords171
Supertonic Seventh Chords172
Subdominant Seventh Chords183
Points for Review186
Exercises188
13Other Uses of IV, IV[superscript 6], and VI191
IV and IV[superscript 6]191
VI197
Summary of Cadences203
Points for Review205
Exercises205
14V as a Key Area207
Tonicization and Modulation208
Applications to Written Work222
Points for Review224
Exercises224
15III and VII226
Uses of III226
Uses of VII236
Points for Review240
Exercises241
Part III5/3, 6/3, and 6/4 Techniques245
165/3-Chord Techniques247
Progressions by 5ths and 3rds247
Contrapuntal Chord Functions252
V as a Minor Triad258
Points for Review260
Exercises261
17Diatonic Sequences262
Compositional Functions263
Sequences with Descending 5ths267
Sequences with Ascending 5ths270
Sequences Using the Ascending 5-6 Technique273
Sequences Falling in 3rds (Descending 5-6)276
Less Frequent Sequential Patterns278
Sequences Leading to Tonicized V280
Sequences in Minor282
Points for Review285
Exercises287
186/3-Chord Techniques290
6/3 Chords in Parallel Motion291
Other Uses of 6/3 Chords297
Points for Review303
Exercises303
196/4-Chord Techniques305
Dissonant 6/4 Chords307
Special Treatment of Cadential 6/4 Chords315
Consonant 6/4 Chords320
Some Special Cases322
Points for Review324
Exercises324
Part IVElements of Figuration327
20Melodic Figuration329
Chordal Skips (Arpeggios)331
Passing and Neighboring Tones334
Points for Review345
Exercises345
21Rhythmic Figuration348
Suspensions348
Anticipations365
The Pedal Point369
Points for Review371
Exercises372
Part VDissonance and Chromaticism I375
22Leading-Tone Seventh Chords377
The Diminished Seventh Chord378
The Half-Diminished Seventh Chord385
Points for Review387
Exercises388
23Mixture390
Combining Modes390
Points for Review401
Exercises401
24Remaining Uses of Seventh Chords404
Seventh Chords in Sequence405
Expanded Treatment of Seventh Chords410
Apparent Seventh Chords415
Points for Review420
Exercises420
25Applied V and VII422
Applied Chords423
Chords Applied to V426
Other Applied Chords432
Applied Chords in Sequence437
Points for Review445
Exercises445
26Diatonic Modulation448
Modulatory Techniques448
Modulation, Large-Scale Motion, and Form454
Points for Review462
Exercises463
Part VIDissonance and Chromaticism II469
27Seventh Chords with Added Dissonance471
Ninths471
"Elevenths" and "Thirteenths"481
Points for Review487
Exercises487
28The Phrygian II (Neapolitan)490
A Chord Leading to V490
Other Uses of [musical flat]II502
Chromatic Notation505
Points for Review508
Exercises509
29Augmented Sixth Chords512
A Chromatic Preparation for V513
Approaching Augmented Sixth Chords518
Details of Voice Leading524
Augmented Sixths and Modulation526
"Inversions" of Augmented Sixth Chords528
Motion to Applied Dominants and Nondominant Chords531
German Sixth and Dominant Seventh534
Points for Review536
Exercises537
30Other Chromatic Chords540
Advanced Uses of Mixture541
Augmented Triads547
Altered Dominant Seventh Chords552
Common-Tone Diminished Seventh Chords553
Other Chromatic Embellishing Chords557
Points for Review558
Exercises559
31Chromatic Voice-Leading Techniques561
Chromaticism Based on Parallel Motion562
Chromaticism Based on Contrary Motion573
Equal Divisions of the Octave581
Points for Review591
Exercises592
32Chromaticism in Larger Contexts595
New Modulatory Techniques595
Chromatic Tonal Areas604
Points for Review615
Exercises615
Appendix IKeyboard Progressions619
Appendix IIScore Reduction639
Index of Musical Examples643
Subject Index647

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