Harmony and Voice Leading / Edition 3

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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.
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Product Details

  • ISBN-13: 9780155062429
  • Publisher: Cengage Learning
  • Publication date: 8/13/2002
  • Edition description: REV
  • Edition number: 3
  • Pages: 672
  • Product dimensions: 7.70 (w) x 9.70 (h) x 1.90 (d)

Meet the Author

Edward Aldwell received his bachelor's and master's degrees from The Juilliard School where he studied piano with Adele Marcus. He studied theory and analysis privately with Carl Schachter and later with Ernst Oster. He has been a member of the Techniques of Music department at Mannes since 1969 and a member of the piano department since 1973. He has taught theory at The Curtis Institute of Music since 1971 and is currently Chairperson of the theory department. He has given recitals and master classes throughout the United States as well as in Israel, England and Germany, many of them devoted to the works of Bach. Recordings include both books of THE WELL-TEMPERED CLAVIER, GOLDBERG VARIATIONS and FRENCH SUITES OF BACH, as well as works of Hindemith and Faure.

Carl Schachter has taught music theory and analysis at Mannes College since 1956. He has served as the Chair of the Techniques of Music Division, and he was Dean of the College from 1962 to 1966. In July 1996 he retired as Distinguished Professor of Music at Queens College and the CUNY Graduate School, where he had taught since 1971. Following his retirement from Queens College, he joined the faculty of The Juilliard School. He has lectured and taught in France, England, Italy, Germany, Austria, Spain, Finland, Estonia, Holland, Mexico, and Australia as well as the U.S. and Canada.

Allen Cadwallader is Professor of Music Theory at Oberlin Conservatory of Music, where he teaches counterpoint, tonal harmony, and Schenkerian analysis. He is editor of TRENDS IN SCHENKERIAN RESEARCH, ESSAYS FROM THE THIRD INTERNATIONAL SCHENKER SYMPOSIUM, ESSAYS FROM THE FOURTH INTERNATIONAL SCHENKER SYMPOSIUM, VOL. 1, and coauthor of ANALYSIS OF TONAL MUSIC: A SCHENKERIAN APPROACH (Oxford University Press). He has published articles on Schenkerian theory in JOURNAL OF MUSIC THEORY, MUSIC ANALYSIS, and MUSIC THEORY SPECTRUM, and has given lectures and workshops on Schenker's work in England, France, Germany, and the United States.

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Table of Contents

Preface xiii
Part I The Primary Materials and Procedures 1
1 Key, Scales, and Modes 3
Tonal Relationships; Major Keys 4
Minor Keys; Modes; Tonality 14
Exercises 20
2 Intervals 22
Recognizing and Constructing Intervals 22
The Overtone Series 25
Consonance and Dissonance 27
Intervals in a Key 30
Exercises 35
3 Rhythm and Meter 36
Rhythmic Organization 36
Rhythm and Dissonance Treatment 43
Exercises 45
4 Triads and Seventh Chords 47
Triads 48
Seventh Chords 56
Texture and Structure 59
Exercises 61
5 Procedures of Four-Part Writing 63
Chord Construction 63
Voice Leading 69
Points for Review 78
Exercises 79
Part II I-V-I and Its Elaborations 81
6 I, V, and V[superscript 7] 83
Tonic and Dominant 84
I-V-I in Four Parts 86
The Dominant Seventh 89
Points for Review 94
Exercises 95
7 I[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 Review 107
Exercises 107
8 Inversions 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 Dominant 118
Points for Review 123
Exercises 123
9 Leading to V: IV, II, and II[superscript 6] 125
Intermediate Harmonies 125
IV and II in Contrapuntal Progressions 133
Expansions of II and IV 136
Harmonic Syntax; Rhythmic Implications 139
Points for Review 142
Exercises 143
10 The Cadential 6/4 146
An Intensification of V 146
Points for Review 155
Exercises 155
11 VI and IV[superscript 6] 158
Uses of VI 158
Uses of IV[superscript 6] 163
Points for Review 167
Exercises 168
12 Supertonic and Subdominant Seventh Chords 171
Supertonic Seventh Chords 172
Subdominant Seventh Chords 183
Points for Review 186
Exercises 188
13 Other Uses of IV, IV[superscript 6], and VI 191
IV and IV[superscript 6] 191
VI 197
Summary of Cadences 203
Points for Review 205
Exercises 205
14 V as a Key Area 207
Tonicization and Modulation 208
Applications to Written Work 222
Points for Review 224
Exercises 224
15 III and VII 226
Uses of III 226
Uses of VII 236
Points for Review 240
Exercises 241
Part III 5/3, 6/3, and 6/4 Techniques 245
16 5/3-Chord Techniques 247
Progressions by 5ths and 3rds 247
Contrapuntal Chord Functions 252
V as a Minor Triad 258
Points for Review 260
Exercises 261
17 Diatonic Sequences 262
Compositional Functions 263
Sequences with Descending 5ths 267
Sequences with Ascending 5ths 270
Sequences Using the Ascending 5-6 Technique 273
Sequences Falling in 3rds (Descending 5-6) 276
Less Frequent Sequential Patterns 278
Sequences Leading to Tonicized V 280
Sequences in Minor 282
Points for Review 285
Exercises 287
18 6/3-Chord Techniques 290
6/3 Chords in Parallel Motion 291
Other Uses of 6/3 Chords 297
Points for Review 303
Exercises 303
19 6/4-Chord Techniques 305
Dissonant 6/4 Chords 307
Special Treatment of Cadential 6/4 Chords 315
Consonant 6/4 Chords 320
Some Special Cases 322
Points for Review 324
Exercises 324
Part IV Elements of Figuration 327
20 Melodic Figuration 329
Chordal Skips (Arpeggios) 331
Passing and Neighboring Tones 334
Points for Review 345
Exercises 345
21 Rhythmic Figuration 348
Suspensions 348
Anticipations 365
The Pedal Point 369
Points for Review 371
Exercises 372
Part V Dissonance and Chromaticism I 375
22 Leading-Tone Seventh Chords 377
The Diminished Seventh Chord 378
The Half-Diminished Seventh Chord 385
Points for Review 387
Exercises 388
23 Mixture 390
Combining Modes 390
Points for Review 401
Exercises 401
24 Remaining Uses of Seventh Chords 404
Seventh Chords in Sequence 405
Expanded Treatment of Seventh Chords 410
Apparent Seventh Chords 415
Points for Review 420
Exercises 420
25 Applied V and VII 422
Applied Chords 423
Chords Applied to V 426
Other Applied Chords 432
Applied Chords in Sequence 437
Points for Review 445
Exercises 445
26 Diatonic Modulation 448
Modulatory Techniques 448
Modulation, Large-Scale Motion, and Form 454
Points for Review 462
Exercises 463
Part VI Dissonance and Chromaticism II 469
27 Seventh Chords with Added Dissonance 471
Ninths 471
"Elevenths" and "Thirteenths" 481
Points for Review 487
Exercises 487
28 The Phrygian II (Neapolitan) 490
A Chord Leading to V 490
Other Uses of [musical flat]II 502
Chromatic Notation 505
Points for Review 508
Exercises 509
29 Augmented Sixth Chords 512
A Chromatic Preparation for V 513
Approaching Augmented Sixth Chords 518
Details of Voice Leading 524
Augmented Sixths and Modulation 526
"Inversions" of Augmented Sixth Chords 528
Motion to Applied Dominants and Nondominant Chords 531
German Sixth and Dominant Seventh 534
Points for Review 536
Exercises 537
30 Other Chromatic Chords 540
Advanced Uses of Mixture 541
Augmented Triads 547
Altered Dominant Seventh Chords 552
Common-Tone Diminished Seventh Chords 553
Other Chromatic Embellishing Chords 557
Points for Review 558
Exercises 559
31 Chromatic Voice-Leading Techniques 561
Chromaticism Based on Parallel Motion 562
Chromaticism Based on Contrary Motion 573
Equal Divisions of the Octave 581
Points for Review 591
Exercises 592
32 Chromaticism in Larger Contexts 595
New Modulatory Techniques 595
Chromatic Tonal Areas 604
Points for Review 615
Exercises 615
Appendix I Keyboard Progressions 619
Appendix II Score Reduction 639
Index of Musical Examples 643
Subject Index 647
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Sort by: Showing all of 5 Customer Reviews
  • Anonymous

    Posted December 25, 2007

    Dense, but not impenetrable

    I, too, used this book as a music student in college. I agree that it does take some getting through - there's a reason that it takes more than five semesters to get through. However, I can't agree with the other reviewers' opinions. Despite its bent toward Schenkerian analysis, it offers a solid and thorough explanation of music theory - how chords evolved, and when, how, and where to use them. Between this book and a good exercise book on figured bass (and maybe some encouragement from a theory professor), one could develop a more than adequate chordal vocabulary - which is the goal of any musician worth his salt.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted August 20, 2003

    no way on aldwell and schacter

    I had the misfortune of using this text as a music student. the music theory faculty were all schenkerians and constantly patting themselves on the back for using this text, but the fact is that I had to retake a semester of basic theory as a graduate student because of their poor teaching and this book

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 8, 2003

    No Glossary In This Book

    As a beginner in music, it would be helpful if this book had a glossary to look up music definitions. Additionally, the explainations need to be simplified...hard to follow.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 9, 2009

    No text was provided for this review.

  • Anonymous

    Posted December 23, 2008

    No text was provided for this review.

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