Practice of Harmony / Edition 6

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Overview

A thorough introduction to harmony in common practice.

Takes students from the fundamentals of harmony including harmony in common practice and some of the more important harmonic procedures of the 20th century.

With an emphasis on learning and understanding by doing, this text/workbook combination takes students from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. The approach is “additive” throughout, allowing students to use what was learned in one chapter to help comprehension of the materials in the next. This allows for minimum of memorization since students repeatedly use the concepts throughout the semester.

Teaching and Learning Experience

Personalize Learning-MySearchLab offers assests for further study, including research databases, information on how to write a research paper, and subject libraries.

Improve Critical Thinking- Students learn that harmony may be understood as a continuum rather than a series of unrelated elements.

Engage Students- Emphasis on comprehension of governing principles rather than memorization of rules.

Understand Music- Provides students with immediate understanding of what the particular musical example is emphasizing and what harmonic principle the example reveals.

Support Instructors- Supported by the best instructor resources on the market; MySearchLab, and an Instructor’s Manual.

Note: MySearchLab does no come automatically packaged with this text. To purchase MySearchLab, please visit www. MySearchLab.com or you can purchase a valuepack of the text + MySearchLab (VP ISBN-10: 0205230172, VP ISBN-13: 9780205230174)

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Product Details

  • ISBN-13: 9780205717194
  • Publisher: Pearson
  • Publication date: 8/11/2011
  • Series: MyMusicKit Series
  • Edition number: 6
  • Pages: 432
  • Sales rank: 466,695
  • Product dimensions: 10.80 (w) x 8.80 (h) x 0.50 (d)

Meet the Author

Barbara Bennett is a Lecturer in the Department of Music at the University of California, Riverside, where she teaches a three-part series of classes on harmonic theory. A composer and pianist as well as a teacher, Dr. Bennett is active in the College Music Society and the National Association of Composers, USA (NACUSA), having served as an officer on both national boards. Besides harmony, she also teaches Advanced Music Fundamentals and Introduction to Western Music at UC Riverside. She earned her bachelor’s and master’s degrees in music at the University of Georgia, and her D. M. from The Florida State University.

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Table of Contents

IN THIS SECTION:
1.) BRIEF
2.) COMPREHENSIVE


BRIEF TABLE OF CONTENTS:

Contents

Preface

Part One Foundations

Chapter 1 Clefs and Basic Pitch Notation

Chapter 2 Scales

Chapter 3 Key Signatures and Scale Degrees

Chapter 4 Intervals

Chapter 5 Triads

Chapter 6 The Notation of Rhythm

Part Two Harmony in Common Practice

The Diatonic Vocabulary

Chapter 7 Four-Part Vocal Writing

Chapter 8 Primary Triads in Root Position

Chapter 9 Primary Triads in First Inversion

Chapter 10 Primary Triads in Second Inversion

Chapter 11 Secondary Triads

Chapter 12 The Harmonization of Melodies I

Chapter 13 Nonchord Tones I: Passing Tones, Neighboring Tones, Changing Tones,

Appoggiaturas, Escape Tones, Anticipations

Chapter 14 Nonchord Tones II: Suspensions, Pedal Points

Chapter 15 Diatonic Seventh Chords

Chapter 16 The Harmonization of Melodies II

Chapter 17 Writing for the Piano

Part Three Harmony in Common Practice

The Chromatic Vocabulary

Chapter 18 Secondary Dominants

Chapter 19 Secondary Diminished Seventh Chords

Chapter 20 Augmented Sixth Chords

Chapter 21 Borrowed Chords

Chapter 22 The Neapolitan

Chapter 23 Common Chord Modulation

Chapter 24 Abrupt and Enharmonic Modulation

Part Four Post-Common Practice Harmony

Chapter 25 Ninth, Eleventh, and Thirteenth Chords

Chapter 26 Chord Symbols

Chapter 27 Modal Harmony

Chapter 28 Nonfunctional Harmony

Chapter 29 Artificial Scales

Chapter 30 Nontertian Harmony

Chapter 31 Harmonic Procedures in Twelve-Tone Serialism

Appendix A

Appendix B

Appendix C

INDEX


COMPREHENSIVE TABLE OF CONTENTS:

Contents

Preface

Part One Foundations

Chapter 1 Clefs and Basic Pitch Notation

Chapter 2 Scales

The Major Scale

The Minor Scale

Naming Scales

Scales in Descent

The Synthetic Minor Scale

Modes

Chapter 3 Key Signatures and Scale Degrees

Chapter 4 Intervals

The Quality of Intervals

The Inversion of Intervals

Compound Intervals

Chapter 5 Triads

Types of Triads

Triads in Major and Minor Keys

Chapter 6 The Notation of Rhythm

Note Values

Meter Signatures

Principles of Notation

Part Two Harmony in Common Practice

The Diatonic Vocabulary

Chapter 7 Four-Part Vocal Writing

Chapter 8 Primary Triads in Root Position

Cadences

Roots a Fourth and Fifth Apart

Roots a Second Apart

Restrictions in Voice Leading

Primary Triads in Combination

The Function of Primary Triads

The Dominant Seventh

Chapter 9 Primary Triads in First Inversion

Chord Symbolization: Figured Bass

Primary Triads in First Inversion

Chapter 10 Primary Triads in Second Inversion

The Cadential Six-Four Chord

The Passing Six-Four Chord

The Auxiliary Six-Four Chord

Chapter 11 Secondary Triads

Chord Relationships

The Sixth and Seventh Scale Degrees in Minor Keys

Chapter 12 The Harmonization of Melodies I

Chapter 13 Nonchord Tones I: Passing Tones, Neighboring Tones, Changing Tones,

Appoggiaturas, Escape Tones, Anticipations

The Passing Tone

The Neighboring Tone

Changing Tones

The Appoggiatura

The Escape Tone

The Anticipation

Chapter 14 Nonchord Tones II: Suspensions, Pedal Points

Suspensions

Pedal Points

Chapter 15 Diatonic Seventh Chords

Figured Bass Symbols for Seventh Chords

The Seventh Chord in Four-Part Writing

The Function of Diatonic Seventh Chords

Chapter 16 The Harmonization of Melodies II

Passing Tone Patterns [P]

Neighboring Tone Patterns [N]

Suspension Patterns [Sus]

Appoggiatura Patterns [Ap]

Escape Tone Patterns [Et]

Anticipation Patterns [An]

Chapter 17 Writing for the Piano

Melodic Considerations

Contrapuntal Practices

Four-Part Chordal Styles

The Piano Accompaniment

Part Three Harmony in Common Practice

The Chromatic Vocabulary

Chapter 18 Secondary Dominants

The Function of Secondary Dominants

Deceptive Resolutions of Secondary Dominants

Chapter 19 Secondary Diminished Seventh Chords

The Function of Secondary Diminished Seventh Chords

Irregular Resolutions of Diminished Seventh Chords

Chapter 20 Augmented Sixth Chords

The Function of Augmented Sixth Chords

Other Uses of Augmented Sixth Chords

Chapter 21 Borrowed Chords

Chapter 22 The Neapolitan

The Neapolitan Sixth Chord

The Function of the Neapolitan Sixth

The Neapolitan in Root Position

Chapter 23 Common Chord Modulation

Chapter 24 Abrupt and Enharmonic Modulation

Abrupt Modulation

Enharmonic Modulation

Part Four Post-Common Practice Harmony

Chapter 25 Ninth, Eleventh, and Thirteenth Chords

Ninth Chords

Perfect Eleventh Chords

Augmented Eleventh Chords

Thirteenth Chords

Ninth, Eleventh, and Thirteenth Chords in Combination

Chapter 26 Chord Symbols

Tritone Substitution

Chapter 27 Modal Harmony

Modes

The Pentatonic Scale

Chapter 28 Nonfunctional Harmony

Root Movements Based on the Chromatic Scale

Parallelism

Chords of Addition

Polychords

Bitonality

Pandiatonicism

Chapter 29 Artificial Scales

The Whole Tone Scale

The Octatonic Scale

Chapter 30 Nontertian Harmony

Nontertian Projections

Freely Formed Harmonic Structures

Chapter 31 Harmonic Procedures in Twelve-Tone Serialism

Introduction

The Construction of the Basic Set

The Harmonic Basis

Appendix A

Answers for Selected Exercises Chapters 7-22

Appendix B

Study Guide for Analysis

Guided Analysis — Handel Passacaglia

Guided Analysis — Mozart Piano Sonata K. 457, III, m. 167-183

List of Music for Analysis

Appendix C

Musical Calligraphy

Instruments

Tempo and Expression Marks

INDEX

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