Harmonic practice in tonal music / Robert Gauldin.
| Author/creator | Gauldin, Robert, 1931- |
| Format | Book |
| Edition | Second edition. |
| Publication Info | New York : W.W. Norton, ©2004. |
| Description | xxxi, 771, 124 pages : illustrations ; 25 cm + 1 workbook (x, 460 pages : music ; 28 cm) |
| Subjects |
| Contents | Part one: the basic elements of music. Pitch and intervals. Pitch notation and the diatonic pitch collection ; Pitch register and pitch class ; Half steps and accidentals ; The natural or white-key intervals ; Spelling intervals with accidentals ; Interval inversion ; Consonant and dissonant intervals -- Rhythm and meter I: beat, meter, and rhythmic notation. The beat and tempo ; Metrical grouping and meter ; Division and subdivision of the beat ; Rhythmic notation ; The beat value ; Meter signatures in meter tempo ; Some guidelines for rhythmic notation -- Tonic, scale, and melody. Tonic and tonality ; The major mode and major scale ; Diatonic scale degrees ; The minor mode and minor scale ; The transposition of scales and melodies ; Relative and parallel keys ; The circle of 5ths ; Key signatures ; The function of scale degrees in melody ; Melodic phrases ; Melodic cadences ; Two melodic analyses -- Triads and seventh chords. Root-position major and minor triads ; Inversions of major and minor triads ; Diminished and augmented triads ; Triad spelling and notation ; Figured bass ; Seventh chords ; Inversions of seventh chords -- Musical texture and chordal spacing. Basic categories of texture ; Strict vs. free texture ; Four-voice texture ; Chordal spacing in four-voice texture ; Doubling in four-voice texture ; Voice movement within the same triad ; Chordal implication in two-voice texture -- Partwriting in four-voice texture. Criteria for melodic writing ; Melodic motion between voices ; Voice leading ; Partwriting ; Principles of melodic writing ; Connecting chords ; Perfect intervals in succession ; Chordal spacing or structure ; Chordal doubling -- Melodic figuration and dissonance I: categories of embellishing tones. Essential and embellishing notes ; Chordal embellishment and compound melody ; Categories of dissonant embellishing tones ; Unaccented/stepwise embellishing tones ; Unaccented/leaping embellishing tones ; Accented/stepwise embellishing tones ; Accented/leaping embellishing tones ; Free tones ; Consonant embellishing tones ; The pedal point ; The perception of embellishing tones -- Part two: diatonic harmony. Introduction to diatonic harmony. Aspects of harmony ; Roman numerals ; Harmonic tendency ; The underlying basis for harmonic tendency ; The influence of melodic sequences on harmonic tendency ; Harmonic models -- The primary triads: tonic, dominant, and subdominant chords. Tonality as the extension of tonic harmony ; The prolongation of tonic harmony ; The tonic, dominant, and subdominant triads ; Relationships between the primary chords ; Partwriting connections between the primary triads ; The polarity between tonic and dominant chords ; The authentic cadence ; The half cadence ; The plagal cadence ; Voice-leading reduction ; Cadential expansion within the phrase ; Harmonizing melodies ; Elaborating harmonic melodies -- The dominant seventh: embellishing the tonic harmony. The dominant seventh in root position ; Preparation and resolution of the V⁷ ; The cadential dominant seventh ; Arpeggiated tonic prolongation within the phrase ; Prolongation of tonic harmony using embellishing chords ; Melodic harmonization ; The elaboration of a harmonic model -- The tonic and subdominant triads in first inversion: the IV and I as embellishing chords. Partwriting with the I⁶ and IV⁶ ; The use of the I⁶ ; The use of the IV⁶ ; The IV as an embellishing chord ; The I as an embellishing chord ; Melody harmonization ; Elaboration of harmonic models -- Phrase structure and grouping. Phrase length ; Larger phrase grouping: the period family ; Double periods ; Some miniature formal designs ; Phrase periodicity ; Phrase extension, contraction, and elision ; Varied phrase lengths ; The internal anatomy of phrases: sub-phrases and sentence structure ; Motives and their development ; |
| Contents | Pitch and rhythmic motives -- Linear dominant chords: V⁶, vii°⁶, and inversions of V⁷. The V⁶, vii°⁶, and inversions of V⁷ ; Uses of the V⁶ and vii°⁶ ; Embedded voice-leading motion ; Examples of the V⁶ and vii°⁶ in music literature ; Inversions of the V⁷ ; Examples of inversions of V⁷ in music literature ; Arpeggiated extensions of dominant harmony ; Exceptional treatments of the chordal 7th ; Extended embellishment of the tonic harmony ; Melody harmonization -- The pre-dominant II and II⁷ chords. The supertonic family ; Partwriting with supertonic chords ; The pre-dominant ii⁶ and [ii6/5] in cadential formulas ; Supertonic harmony in embellishing progressions ; Examples of supertonic harmony in music literature ; Prolongation of the pre-dominant function ; Melody harmonization -- Melodic figuration and dissonance II: suspensions and other uses of embellishing tones. Suspensions in two-voice texture ; Suspensions in four-voice texture ; Ornamental resolutions ; Additional suspension techniques ; Multiple suspensions ; Suspensions as a compositional device ; Melody harmonization ; Other features of embellishing tones ; The interaction of consecutive or simultaneous embellishing tones ; Some analytical problems with embellishing tones ; The affective nature of melodic dissonance ; Embellishing tones in partwriting and melody harmonization -- The [6/4] and other linear chords. The accented or cadential [6/4] chord ; Elaborating the cadential [6/4] chord ; The passing [6/4] chord ; The pedal [6/4] chord ; The arpeggiated [6/4] chord ; Other treatments of the cadential [6/4] ; The extended [6/4] and the cadenza ; Melodic harmonization ; Other diatonic linear chords -- The VI, III, and other diatonic triads. The submediant and mediant triads in major and minor ; The root-position VI between tonic and pre-dominant harmonies ; The VI as a substitute for I: the deceptive cadence and progression ; Other treatments of the V-vi progression ; The root-position III triad within the phrase ; The "first-inversion" VI and III as voice-leading substitutes for I and V ; Modal chords ; Other diatonic triads: the v⁶ and VII in minor ; Melody harmonization -- Rhythm and meter II: additional meter signatures and rhythmic-metrical dissonance. Meter signatures in very slow or very fast tempo ; Asymmetrical meters ; Fast complex meters ; Rhythmic-metrical consonance ; Rhythmic dissonance ; Metrical dissonance -- The leading-tone seventh chord and other seventh chords. The leading-tone diminished-seventh chord in the minor mode ; Partwriting with the vii°⁷ in the minor mode ; Other uses of the vii°⁷ ; The leading-tone seventh chord in the major mode ; Melody harmonization ; Other diatonic seventh chords: the IV⁷, I⁷, VI⁷, and III⁷ -- Harmonic sequences I: triadic root movement by 5th, 2nd, and 3rd. Sequential and cyclical root movement ; Harmonic sequences ; Triadic root movement by descending 5th ; Triads in descending 5th sequences ; Triads in ascending 5th sequences ; Root movement by 2nd: successive first-inversion chords ; Sequences of root-position triads in stepwise motion ; Root movement by descending and ascending 3rd ; Harmonic sequences in melody harmonization -- Tonicization and modulation I: secondary dominant chords. Tonicization and modulation ; Secondary or applied dominant chords ; Approaching altered notes in secondary dominants ; Tonicization of the dominant ; Tonicization of the subdominant ; Tonicization of ii, vi, and iii in the major mode ; Tonicizations of III, VI, and VII in the minor mode ; Cross relations ; Extended successions of secondary dominants ; Melody harmonization -- Tonicization and modulation II: motion to V and III. The strength and duration of tonicizations ; Modulation ; Methods of modulation ; Modulation to the dominant key in the major mode ; Intermovement tonal schemes involving modulation to the dominant ; Modulation to the relative major in the minor mode ; Intramovement tonal schemes involving modulation to the relative major ; Melody harmonization -- Harmonic sequences II: sequences of seventh chords and other sequences. Diatonic root-position seventh chords in sequences descending by 5th ; Sequences using inverted diatonic seventh chords ; The use of secondary dominants in harmonic sequences ; Other diatonic sequences ; Sequences as a means of modulation ; Unusual treatment of seventh chords in sequential movement ; The elaboration of sequences -- Simple forms. Content and form ; Formal design and tonal structure ; One-part form ; Binary or two-reprise design ; The two-reprise design in the baroque period ; The two-reprise design in the classical period ; Ternary form ; Variation form ; Baroque continuous variations ; Sectional variations, or theme and variations ; Rondo form ; The five-part rondo ; Seven-part rondo form -- Analytical comments on a menuetto and trio by Beethoven. Larger formal considerations ; Formal characteristics of Beethoven's menuetto and trio ; Motives and phrase grouping in the menuetto ; Voice leading in the menuetto ; Motives and phrase groupings ; Middleground voice leading in the trio ; Overall voice leading in the menuetto and trio ; Unifying factors in the movement -- |
| Contents | Part three: chromatic harmony. Introduction to chromatic harmony. The historical evolution of non-diatonic tones ; Chromatic melodic motion ; Enharmonic duality ; Decorative versus structural chromaticism ; Using Roman numerals to designate chromatic harmonies -- Tonicization and modulation III: modulations to closely related keys. Closely related keys ; Relative frequency of closely related keys ; The extent of the tonicized area ; The process of modulating to closely related keys ; Tonal schemes within a movement ; Melody harmonization -- Modal exchange and mixture chords. Modal exchange ; Mixture chords ; Mixture chords in the major mode ; Mixture chords in the minor mode ; The III triad as a secondary mixture chord in major ; The relationship between scale degrees [sharp]5 versus [flat]6 ; Melody harmonization -- The Neapolitan or [flatII] chord. A question of terminology: iv [flat]6-5 versus [flat]II⁶ ; The Neapolitan sixth in minor and major modes ; The [flat]II⁶ as an embellishing chord ; Other characteristics of the [flat]II⁶ ; Other uses of the Neapolitan chord ; Tonicization of the Neapolitan harmony ; Melodic harmonization -- Augmented sixth chords. The three common forms of augmented sixth chords ; The Italian, French, and German augmented sixth chords in the minor mode ; Augmented sixth chords in the major mode ; Secondary augmented sixth chords ; Inversions of the augmented sixth chords ; Other resolutions of augmented sixth chords ; Enharmonic augmented sixth chords ; More exotic augmented sixth chords ; Melody harmonization -- Extended homophonic and contrapuntal formal designs. Sonata form ; Sonata-rondo form ; Concerto form ; Contrapuntal forms -- Embellishing chromatic chords. Augmented triads as passing or neighboring chords ; Altered V⁷ chords ; Embellishing or common-tone diminished-seventh chords ; Common-tone augmented sixth chords ; Unusual linear chords ; Additional chromatic chords in the major and minor modes ; The use of chromaticism to create modal ambiguity ; Melody harmonization -- Dominant prolongation. Short-term chromatic prolongation of V(⁷) ; Prolongation of the dominant in introductions ; Prolongation of the dominant in retransitions ; Prolongation of the cadential [6/4] formula ; Dominant prolongations as preparation for a climax -- Modulation to foreign keys I. Modulations to foreign keys in the major mode ; Change-of-mode modulation ; Third-related modulations by common tone ; Modulations to foreign keys by pivot chord ; Modulations to foreign keys in the minor mode ; Foreign-key modulations in development sections ; Melody harmonization -- Ninth, eleventh, thirteenth, and added-note chords. General considerations ; Dominant ninth chords ; Non-dominant ninth chords ; Eleventh and thirteenth chords ; Added notes: 6ths and 9ths -- Implication and realization. Music as communication ; Referentialism versus absolutism ; The origins of emotion in music ; Implication and realization ; Surprise and ambiguity ; Application to musical analysis -- Harmonic sequences III: chromatic elaborations of diatonic sequences. Fifth-related chromatic sequences ; The role of diatonic tetrachords in stepwise chromatic sequences ; Chromatic elaborations of diatonic stepwise sequences ; Extended use of chromatic 5-6 sequences -- Analytical comments on Wagner's Tristan prelude -- Part four: advanced chromatic techniques. Chromatic voice leading. Sequences based on half-step movement ; Strict chromatic parallelism ; Chromaticism by contrary motion ; Non-sequential chromatic passages ; Extended use of non-sequential chromaticism -- Modulations to foreign keys II. Enharmonic modulation ; Chromatic alterations of diminished seventh chords ; Modulation by strict harmonic sequence ; Modulation by chromatic linear sequence -- Symmetrical divisions of the octave. Symmetrical root movements ; Extended root movement by perfect 5th ; The omnibus sequence ; Tonal schemes using symmetrical divisions of the octave -- At the limits of tonality: Alban Berg's Four Songs, op. 2 -- Appendix 1: some fundamentals of acoustics. Frequency and pitch ; Intensity and loudness ; Vibration form and timbre ; Duration and length -- Appendix 2: the diatonic church modes and other scales. The Ecclesiastical or church modes ; Other scales -- Appendix 3: an introduction to species counterpoint. Melodic characteristics ; First species ; Second species ; Third species ; Fourth species ; Fifth species ; Underlying species technique in two-voice passages -- Appendix 4: chord symbols for jazz and commercial music. Triads ; Seventh chords ; Extended tertian chords -- Appendix 5: conducting patterns. Duple meter ; Triple meter ; Quadruple meter ; Single meter ; Quintuple meter ; Sextuple meter or divided beat ; Complex meters -- Appendix 6: transposing instruments. Concert instruments ; Transposing instruments ; Classical brass, crooks, and transpositions. |
| Abstract | Taking a linear functional approach, the author uses clear explanations and outstanding musical examples to show students how individual chords function in the overall structure of a piece, explaining how both harmonic and melodic forces contribute to the development of musical ideas. For the Second Edition, he has undertaken a comprehensive revision that responds directly to the suggestions of instructors. The new text emphasizes fundamental concepts, using a more effective organization and simpler, more accessible language to bring the most important ideas and information to the foreground. The music literature examples included in the text are now available on this single CD-ROM with performances by students and faculty from the Eastman School of Music. |
| Bibliography note | Includes bibliographical references and indexes. |
| LCCN | 2003066237 |
| ISBN | 0393976661 |
| ISBN | 9780393976663 |