Harmony and Voice Leading
A comprehensive volume spanning the entire theory course, HARMONY AND VOICE LEADING begins with coverage of basic concepts of theory and harmony, and moves into coverage of advanced dissonance and chromaticism. It emphasizes the linear aspects of music as much as the harmonic, and introduces large-scale progressions--linear and harmonic--at an early stage. The first three Units of the book are designed to be taught sequentially, but instructors have the flexibility to teach the latter units in any combination and order they choose.
- Hardback | 624 pages
- 236.22 x 294.64 x 63.5mm | 1,338.09g
- 12 Sep 2002
- Cengage Learning, Inc
- Wadsworth Publishing Co Inc
- Belmont, CA, United States
- 3rd Revised edition
Table of contents
Part I: The Primary Materials and Procedures. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Procedures of Four-Part Writing. Part II: I-V-I and Its Elaborations. 6. I, V, and V7. 7. I6, V6, VII6. 8. Inversions of V7. 9. Leading to V, IV,II, and II7. 10. The Cadential 6/4. 11. VI and IV6. 12. Supertonic and Subdominant Seventh Chords. 13. Other Uses of IV, IV6, and VI. 14. V as a Key Area. 15. III and VII. Part III: 5/3, 6/3, and 6/4 Techniques. 16. 5/3-Chord Techniques. 17. Diatonic Sequences. 18. 6/3-Chord Techniques. 19. 6/4-Chord Techniques. Part IV: Elements of Figuration. 20. Melodic Figuration. 21. Rhythmic Figuration. Part V: Dissonance and Chromaticism I. 22. Leading-Tone Seventh Chords. 23. Mixture. 24. Remaining Uses of Seventh Chords. 25. Applied V and VII. 26. Diatonic Modulation. Part VI: Dissonance and Chromaticism II. 27. Seventh Chords with Added Dissonance. 28. The Phrygian II (Neapolitan). 29. Augmented Sixth Chords. 30. Other Chromatic Chords. 31. Chromatic Voice-Leading Techniques. 32. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Index of Musical Examples. Subject Index.
"The concepts are approached from a musical standpoint as I mentioned earlier. In addition, the coverage is incredibly thorough and logically presented. My personal favorite is that the homework exercises are largely compositional in nature, as opposed to 'fill in the blank' harmonic exercises. I believe that through composition and melody harmonization students best learn harmony and voice leading principles. Most importantly, through composition, students will make the transition to counterpoint studies more easily."