Ise Ebook For Harmony In Context, 3E (180 Days)
3rd Edition
1264627912
·
9781264627912
© 2020 | Published: January 15, 2019
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Preface
A Message to the Student: Why Do We Study Music Theory?
Introduction: The Fundamentals of Music
Chapter A Pitch: Notation and Intervals
Chapter B Rhythm and Meter
Chapter C Tonality: Scales and Keys
Chapter D The Rudiments of Harmony I: Triads and Seventh Chords
Chapter E The Rudiments of Harmony II: Labeling Chords. Musical Texture
Chapter F Introduction to Species Counterpoint
Part I: Diatonic Harmony
Chapter 1 Harmonic Progression. The Connection of Chords
Chapter 2 The Fundamental Progression: The Tonic and Dominant Triads in Root Position.
Chapter 3 Harmonic Function; the Subdominant Triad in Root Position
Chapter 4 Triads in First Inversion
Chapter 5 The Supertonic: Melody Harmonization
Chapter 6 Nonchord Tones
Chapter 7 6/4 Chords
Chapter 8 The Dominant Seventh and Its Inversions
Chapter 9 The Leading-Tone Triad
Chapter 10 Cadences
Chapter 11 Building the Context for Harmony I: Phrase Structure
Chapter 12 Building the Context for Harmony II: Thematic Development
Chapter 13 Harmonic Rhythm; Metric Reduction
Chapter 14 The Mediant, Submediant, and Subtonic Triads
Chapter 15 Other Diatonic Seventh Chords
Chapter 16 Harmonic Sequences
Part II: Chromatic Harmony and Form
Chapter 17 Tonicization I
Chapter 18 Tonicization II
Chapter 19 Tonicization III: Secondary Leading-Tone Chords
Chapter 20 Modulation to Closely-Related Keys
Chapter 21 Small Forms: Binary and Ternary; Variation Forms
Chapter 22 Contrapuntal Genres: Invention and Fugue
Chapter 23 Modal Mixture
Chapter 24 The Neapolitan Chord
Chapter 25 Augmented Sixth Chords
Chapter 26 Chromatic Modulatory Techniques:Modulation to Distantly Related Keys I
Chapter 27 Modulation to Distantly-Related Keys II; Linear Chromaticism I
Chapter 28 Introduction to Large Forms
Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II;
Chapter 30 The German Romantic Lied: Chromatic Harmony in Context
Chapter 31 Toward (and Beyond) the Limits of Functional Tonality
Appendix: Transposing Instruments
Musical Example Index
Subject Index
A Message to the Student: Why Do We Study Music Theory?
Introduction: The Fundamentals of Music
Chapter A Pitch: Notation and Intervals
Chapter B Rhythm and Meter
Chapter C Tonality: Scales and Keys
Chapter D The Rudiments of Harmony I: Triads and Seventh Chords
Chapter E The Rudiments of Harmony II: Labeling Chords. Musical Texture
Chapter F Introduction to Species Counterpoint
Part I: Diatonic Harmony
Chapter 1 Harmonic Progression. The Connection of Chords
Chapter 2 The Fundamental Progression: The Tonic and Dominant Triads in Root Position.
Chapter 3 Harmonic Function; the Subdominant Triad in Root Position
Chapter 4 Triads in First Inversion
Chapter 5 The Supertonic: Melody Harmonization
Chapter 6 Nonchord Tones
Chapter 7 6/4 Chords
Chapter 8 The Dominant Seventh and Its Inversions
Chapter 9 The Leading-Tone Triad
Chapter 10 Cadences
Chapter 11 Building the Context for Harmony I: Phrase Structure
Chapter 12 Building the Context for Harmony II: Thematic Development
Chapter 13 Harmonic Rhythm; Metric Reduction
Chapter 14 The Mediant, Submediant, and Subtonic Triads
Chapter 15 Other Diatonic Seventh Chords
Chapter 16 Harmonic Sequences
Part II: Chromatic Harmony and Form
Chapter 17 Tonicization I
Chapter 18 Tonicization II
Chapter 19 Tonicization III: Secondary Leading-Tone Chords
Chapter 20 Modulation to Closely-Related Keys
Chapter 21 Small Forms: Binary and Ternary; Variation Forms
Chapter 22 Contrapuntal Genres: Invention and Fugue
Chapter 23 Modal Mixture
Chapter 24 The Neapolitan Chord
Chapter 25 Augmented Sixth Chords
Chapter 26 Chromatic Modulatory Techniques:Modulation to Distantly Related Keys I
Chapter 27 Modulation to Distantly-Related Keys II; Linear Chromaticism I
Chapter 28 Introduction to Large Forms
Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II;
Chapter 30 The German Romantic Lied: Chromatic Harmony in Context
Chapter 31 Toward (and Beyond) the Limits of Functional Tonality
Appendix: Transposing Instruments
Musical Example Index
Subject Index