Loose Leaf for Harmony in Context 3rd Edition by Miguel Roig Francoli ISBN 9781260055764 1260055760

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ISBN 10: 1260055760
ISBN 13: 9781260055764
Author: Miguel Roig Francoli

Loose Leaf for Harmony in Context 3rd Edition Table of contents:

Chapter A Pitch: Notation and Intervals

The Notation of Pitch

Intervals

Chapter B Rhythm and Meter

Durational Symbols

Pulse, Beat, and Meter

Tempo

Simple and Compound Meters

The Notation of Meter

Metric Accent

Choosing a Meter to Notate a Melody

Asymmetrical Meters

Irregular Divisions of the Beat

Irregular Rhythmic and Metric Relationships

Some Notes on the Correct Notation of Rhythm

Chapter C Tonality: Scales and Keys

Modes and Scales

Key Signatures

Other Modes and Scales

Chapter D The Rudiments of Harmony I: Triads and Seventh Chords

Chords

Triads

Seventh Chords

Chapter E The Rudiments of Harmony II: Labeling Chords; Musical Texture

Harmonic Function, Roman Numerals

Figured Bass

An Example by Handel

Musical Texture

Chapter F Introduction to Species Counterpoint

The Melodic Line in Species Counterpoint

General Guidelines for Two-Part Counterpoint

First Species (1:1)

Second Species (2:1)

Third Species (4:1)

Fourth Species (Syncopated)

Part 1 Diatonic Harmony

Chapter 1 Harmonic Progression. The Connection of Chords

Harmonic Progression

Notating, Voicing, and Spacing Chords

Chord Connection: The Principles of Part Writing

Voice-Leading Guidelines for the Three Basic Types of Progression

Melodic Style

The Big Picture: Voice Independence

Chapter 2 The Fundamental Progression: The Tonic and Dominant Triads in Root Position

The Tonic Triad

The Dominant Triad

The I–V–I Progression

Characteristic Soprano-Bass Patterns

The Big Picture: The I–V–I Progression as a Form-Generating Structure

Procedure: Identifying Cadences and Phrases

Pitch Patterns

Chapter 3 Harmonic Function; The Subdominant Triad in Root Position

The Basic Harmonic Functions

The Subdominant Triad

Characteristic Soprano-Bass Patterns

The Big Picture: A Model to Elaborate the Fundamental Progression

Pitch Patterns

Chapter 4 Triads in First Inversion

The Triad in First Inversion: Uses and Function

The Neighbor V6

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 5 The Supertonic; Melody Harmonization

The Supertonic in Root Position

The Supertonic in First Inversion

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Procedure: Harmonizing a Melody

Pitch Patterns

Chapter 6 Nonchord Tones

The Passing Tone

The Neighbor Note

The Anticipation

Incomplete Neighbors

Suspensions

Pedal Point

Chapter 7 64 Chords

Consonant 64 Chords: The Arpeggiated 64

Dissonant 64 Chords

The Neighbor 64

The Passing 64

The Cadential 64

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating The I–V–I Progression

Pitch Patterns

Chapter 8 The Dominant Seventh and Its Inversions

V7 in Root Position

Inversions of the Dominant Seventh

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 9 The Leading-Tone Triad

Doubling and Voice Leading

The Passing vii°6

vii°6 as a Dominant Substitute

The Leading-Tone Cadence

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 10 Cadences

Authentic Cadences

The Half Cadence

The Plagal Cadence

The Deceptive Cadence

Pitch Patterns

Chapter 11 Building the Context for Harmony I: Phrase Structure

Motive

Phrase

Period Structure

The Big Picture: Form Diagrams

More on Period Structure

Phrase Group

Chapter 12 Building the Context for Harmony II: Thematic Development; Phrase Extension

Melodic Developmental Techniques

Phrase Extension

Chapter 13 Harmonic Rhythm; Metric Reduction

Harmonic Rhythm

The Big Picture: Metric Reduction: A Tool for Practice and Performance

Compound Melody

Procedure: Composing Your Own Progressions

Chapter 14 The Mediant, Submediant, and Subtonic Triads

The Mediant and Submediant Triads as Prolongations of the Tonic

Other Uses of the Mediant and Submediant

The Subtonic

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Procedure: Composing a Keyboard Harmonization

Pitch Patterns

Chapter 15 Other Diatonic Seventh Chords

General Doubling and Voice-Leading Guidelines

The Leading-Tone Sevenths

The Half-Diminished Seventh

The Fully Diminished Seventh

The Supertonic Seventh

The Subdominant Seventh

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 16 Harmonic Sequences

The Descending Circle-of-5ths Sequence

The Ascending Circle-of-5ths Sequence

Sequences by Descending 3rds

Sequences by Descending and Ascending Steps

The Big Picture: A Summary of Harmonic Sequences: Elaborating the I–V–I Progression

Pitch Patterns

Part 2 Chromatic Harmony and Form

Chapter 17 Tonicization I

Chromatic Harmony

Tonicization: Secondary Dominants

Procedure: Spelling Secondary Dominants

V7 of V

V7 of IV (iv)

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 18 Tonicization II

V7 of ii

V7 of vi (VI)

V7 of iii (III)

V7 of vii

Characteristic Soprano-Bass Patterns

The Big Picture: Elaborating the I–V–I Progression

Deceptive Resolutions of Secondary Dominants

Sequences with Secondary Dominants

Secondary Key Areas

Pitch Patterns

Chapter 19 Tonicization III: Secondary Leading-Tone Chords

Secondary Leading-Tone Seventh Chords

Secondary vii°7 Chords in Inversion

The Big Picture: Elaborating the I–V–I Progression

Pitch Patterns

Chapter 20 Modulation to Closely Related Keys

Key Relationships: Closely Related Keys

Diatonic Pivot Chord Modulation

Modulation to V

Modulation to the Relative Major and Minor Keys

Procedure: Writing Pivot Chord Modulations

Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods

Procedure: Harmonizing Modulating Melodies

Pitch Patterns

Chapter 21 Small Forms: Binary and Ternary; Variation Forms

The Binary Principle

Binary Tonal Types

Binary Formal Designs

The Ternary Principle

The Big Picture: Binary, Ternary, and Beyond

Variation Forms

Continuous Variations

Sectional Variations

Chapter 22 Contrapuntal Genres: Invention and Fugue

The Two-Voice Invention

Guided Analysis. Bach: Invention No. 3, in DM

The Fugue

Guided Analysis. Bach: Fugue No. 2 in Cm from The Well-Tempered Clavier, I

The Fugato

Chapter 23 Modal Mixture

Borrowed Chords

Borrowing Chords from the Minor Mode in a Major Key

Borrowing Chords from the Major Mode in a Minor Key

Change of Mode

The Big Picture: Characteristic Soprano-Bass Patterns and Elaborations of the I–V–I Progression

Pitch Patterns

Chapter 24 The Neapolitan Chord

The Neapolitan Sixth

Tonicization of the Neapolitan

Pitch Patterns

Chapter 25 Augmented Sixth Chords

General Features and Types of +6 Chords

The Italian +6

The German +6

The French +6

Other Types of +6 Chords

Summary

Pitch Patterns

Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

Chromatic Pivot Chords

Procedure: Writing Chromatic Pivot Chord Modulations

Modulation by Enharmonic Reinterpretation of the Gr +6

Procedure: Writing Modulations with +6 Chords

Modulation by Enharmonic Reinterpretation of vii°7

Procedure: Writing Modulations with vii°7 Chords

Pitch Patterns

Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism I

Chromatic-Third Relationships

Triads Related by Chromatic Third

Keys Related by Chromatic Third: Common-Tone Modulation

Linear Chromaticism I: Linear Chromatic Chords

Altered Triads

Augmented Sixth Chords with Dominant and Embellishing Functions

The Common-Tone Diminished Seventh Chord

Pitch Patterns

Chapter 28 Introduction to Large Forms

Sonata Form

Analysis: Mozart, Piano Sonata in CM, K. 309, I (Anthology, No. 25)

The Rondo

Analysis: A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, No. 21)

Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II

Expanding Chordal Sonorities: Extended Tertian Chords

Linear Chromaticism II: Linear Expansions of Tonality

Chromatic Sequences Revisited

Pitch Patterns

Chapter 30 The German Romantic Lied: Chromatic Harmony in Context

The German Romantic Lied

Analysis 1: Schubert, Erlkonig

Analysis 2: Schumann, “Widmung”

Modulation by Enharmonic Reinterpretation of V+

Analysis 3: Wolf, “Das Verlassene Magdlein”

Pitch Patterns

Chapter 31 Toward (and Beyond) the Limits of Functional Tonality

Tonal Ambiguity and Implied Tonality

Analysis: The Tristan Prelude

Equal Divisions of the Octave

Parsimonious Voice Leading: The PLR Model

Beyond the Confines of Functional Tonality

Pitch Patterns

Appendix Transposing Instruments

Musical Example Index

Subject Index

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