Authors: Edward Aldwell, Allen Cadwallader
ISBN-13: 9780495189756, ISBN-10: 0495189758
Format: Hardcover
Publisher: Cengage Learning
Date Published: March 2010
Edition: 4th Edition
Edward Aldwell received his bachelor's and master's degrees from The Juilliard School where he studied piano with Adele Marcus. He studied theory and analysis privately with Carl Schachter and later with Ernst Oster. He has been a member of the Techniques of Music department at Mannes since 1969 and a member of the piano department since 1973. He has taught theory at The Curtis Institute of Music since 1971 and is currently Chairperson of the theory department. He has given recitals and master classes throughout the United States as well as in Israel, England and Germany, many of them devoted to the works of Bach. Recordings include both books of THE WELL-TEMPERED CLAVIER, GOLDBERG VARIATIONS and FRENCH SUITES OF BACH, as well as works of Hindemith and Faur?.
Carl Schachter has taught music theory and analysis at Mannes College since 1956. He has served as the Chair of the Techniques of Music Division, and he was Dean of the College from 1962 to 1966. In July 1996 he retired as Distinguished Professor of Music at Queens College and the CUNY Graduate School, where he had taught since 1971. Following his retirement from Queens College, he joined the faculty of The Juilliard School. He has lectured and taught in France, England, Italy, Germany, Austria, Spain, Finland, Estonia, Holland, Mexico, and Australia as well as the U.S. and Canada.
Allen Cadwallader is Professor of Music Theory at Oberlin Conservatory of Music, where he teaches counterpoint, tonal harmony, and Schenkerian analysis. He is editor of TRENDS IN SCHENKERIAN RESEARCH, ESSAYS FROM THE THIRD INTERNATIONAL SCHENKER SYMPOSIUM, ESSAYS FROM THE FOURTH INTERNATIONAL SCHENKER SYMPOSIUM, VOL. 1, and coauthor of ANALYSIS OF TONAL MUSIC: A SCHENKERIAN APPROACH (Oxford University Press). He has published articles on Schenkerian theory in JOURNAL OF MUSIC THEORY, MUSIC ANALYSIS, and MUSIC THEORY SPECTRUM, and has given lectures and workshops on Schenker's work in England, France, Germany, and the United States.
A clear and comprehensive volume spanning the entire theory course, HARMONY AND VOICE LEADING, Fourth Edition, 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 progressionslinear and harmonicat an early stage. The fourth edition now includes a chapter introducing species counterpoint and integrates that material into the rest of the text. A new Premium Website for students will provide interactive, guided exercises for new material covered in each unit. The Instructor's Companion Site will include Guidelines for Instructors, a new instructor's manual written by the authors.
Preface | xiii | |
Part I | The Primary Materials and Procedures | 1 |
1 | Key, Scales, and Modes | 3 |
Tonal Relationships; Major Keys | 4 | |
Minor Keys; Modes; Tonality | 14 | |
Exercises | 20 | |
2 | Intervals | 22 |
Recognizing and Constructing Intervals | 22 | |
The Overtone Series | 25 | |
Consonance and Dissonance | 27 | |
Intervals in a Key | 30 | |
Exercises | 35 | |
3 | Rhythm and Meter | 36 |
Rhythmic Organization | 36 | |
Rhythm and Dissonance Treatment | 43 | |
Exercises | 45 | |
4 | Triads and Seventh Chords | 47 |
Triads | 48 | |
Seventh Chords | 56 | |
Texture and Structure | 59 | |
Exercises | 61 | |
5 | Procedures of Four-Part Writing | 63 |
Chord Construction | 63 | |
Voice Leading | 69 | |
Points for Review | 78 | |
Exercises | 79 | |
Part II | I-V-I and Its Elaborations | 81 |
6 | I, V, and V[superscript 7] | 83 |
Tonic and Dominant | 84 | |
I-V-I in Four Parts | 86 | |
The Dominant Seventh | 89 | |
Points for Review | 94 | |
Exercises | 95 | |
7 | I[superscript 6], V[superscript 6], and VII[superscript 6] | 97 |
I[superscript 6] and V[superscript 6] | 97 | |
VII[superscript 6] (Leading-Tone Triad) | 103 | |
Points for Review | 107 | |
Exercises | 107 | |
8 | Inversions of V[superscript 7] | 112 |
V[superscript 6 subscript 5], V[superscript 4 subscript 3], and V[superscript 4 subscript 2] | 112 | |
Contrapuntal Expansions of Tonic and Dominant | 118 | |
Points for Review | 123 | |
Exercises | 123 | |
9 | Leading to V: IV, II, and II[superscript 6] | 125 |
Intermediate Harmonies | 125 | |
IV and II in Contrapuntal Progressions | 133 | |
Expansions of II and IV | 136 | |
Harmonic Syntax; Rhythmic Implications | 139 | |
Points for Review | 142 | |
Exercises | 143 | |
10 | The Cadential 6/4 | 146 |
An Intensification of V | 146 | |
Points for Review | 155 | |
Exercises | 155 | |
11 | VI and IV[superscript 6] | 158 |
Uses of VI | 158 | |
Uses of IV[superscript 6] | 163 | |
Points for Review | 167 | |
Exercises | 168 | |
12 | Supertonic and Subdominant Seventh Chords | 171 |
Supertonic Seventh Chords | 172 | |
Subdominant Seventh Chords | 183 | |
Points for Review | 186 | |
Exercises | 188 | |
13 | Other Uses of IV, IV[superscript 6], and VI | 191 |
IV and IV[superscript 6] | 191 | |
VI | 197 | |
Summary of Cadences | 203 | |
Points for Review | 205 | |
Exercises | 205 | |
14 | V as a Key Area | 207 |
Tonicization and Modulation | 208 | |
Applications to Written Work | 222 | |
Points for Review | 224 | |
Exercises | 224 | |
15 | III and VII | 226 |
Uses of III | 226 | |
Uses of VII | 236 | |
Points for Review | 240 | |
Exercises | 241 | |
Part III | 5/3, 6/3, and 6/4 Techniques | 245 |
16 | 5/3-Chord Techniques | 247 |
Progressions by 5ths and 3rds | 247 | |
Contrapuntal Chord Functions | 252 | |
V as a Minor Triad | 258 | |
Points for Review | 260 | |
Exercises | 261 | |
17 | Diatonic Sequences | 262 |
Compositional Functions | 263 | |
Sequences with Descending 5ths | 267 | |
Sequences with Ascending 5ths | 270 | |
Sequences Using the Ascending 5-6 Technique | 273 | |
Sequences Falling in 3rds (Descending 5-6) | 276 | |
Less Frequent Sequential Patterns | 278 | |
Sequences Leading to Tonicized V | 280 | |
Sequences in Minor | 282 | |
Points for Review | 285 | |
Exercises | 287 | |
18 | 6/3-Chord Techniques | 290 |
6/3 Chords in Parallel Motion | 291 | |
Other Uses of 6/3 Chords | 297 | |
Points for Review | 303 | |
Exercises | 303 | |
19 | 6/4-Chord Techniques | 305 |
Dissonant 6/4 Chords | 307 | |
Special Treatment of Cadential 6/4 Chords | 315 | |
Consonant 6/4 Chords | 320 | |
Some Special Cases | 322 | |
Points for Review | 324 | |
Exercises | 324 | |
Part IV | Elements of Figuration | 327 |
20 | Melodic Figuration | 329 |
Chordal Skips (Arpeggios) | 331 | |
Passing and Neighboring Tones | 334 | |
Points for Review | 345 | |
Exercises | 345 | |
21 | Rhythmic Figuration | 348 |
Suspensions | 348 | |
Anticipations | 365 | |
The Pedal Point | 369 | |
Points for Review | 371 | |
Exercises | 372 | |
Part V | Dissonance and Chromaticism I | 375 |
22 | Leading-Tone Seventh Chords | 377 |
The Diminished Seventh Chord | 378 | |
The Half-Diminished Seventh Chord | 385 | |
Points for Review | 387 | |
Exercises | 388 | |
23 | Mixture | 390 |
Combining Modes | 390 | |
Points for Review | 401 | |
Exercises | 401 | |
24 | Remaining Uses of Seventh Chords | 404 |
Seventh Chords in Sequence | 405 | |
Expanded Treatment of Seventh Chords | 410 | |
Apparent Seventh Chords | 415 | |
Points for Review | 420 | |
Exercises | 420 | |
25 | Applied V and VII | 422 |
Applied Chords | 423 | |
Chords Applied to V | 426 | |
Other Applied Chords | 432 | |
Applied Chords in Sequence | 437 | |
Points for Review | 445 | |
Exercises | 445 | |
26 | Diatonic Modulation | 448 |
Modulatory Techniques | 448 | |
Modulation, Large-Scale Motion, and Form | 454 | |
Points for Review | 462 | |
Exercises | 463 | |
Part VI | Dissonance and Chromaticism II | 469 |
27 | Seventh Chords with Added Dissonance | 471 |
Ninths | 471 | |
"Elevenths" and "Thirteenths" | 481 | |
Points for Review | 487 | |
Exercises | 487 | |
28 | The Phrygian II (Neapolitan) | 490 |
A Chord Leading to V | 490 | |
Other Uses of [musical flat]II | 502 | |
Chromatic Notation | 505 | |
Points for Review | 508 | |
Exercises | 509 | |
29 | Augmented Sixth Chords | 512 |
A Chromatic Preparation for V | 513 | |
Approaching Augmented Sixth Chords | 518 | |
Details of Voice Leading | 524 | |
Augmented Sixths and Modulation | 526 | |
"Inversions" of Augmented Sixth Chords | 528 | |
Motion to Applied Dominants and Nondominant Chords | 531 | |
German Sixth and Dominant Seventh | 534 | |
Points for Review | 536 | |
Exercises | 537 | |
30 | Other Chromatic Chords | 540 |
Advanced Uses of Mixture | 541 | |
Augmented Triads | 547 | |
Altered Dominant Seventh Chords | 552 | |
Common-Tone Diminished Seventh Chords | 553 | |
Other Chromatic Embellishing Chords | 557 | |
Points for Review | 558 | |
Exercises | 559 | |
31 | Chromatic Voice-Leading Techniques | 561 |
Chromaticism Based on Parallel Motion | 562 | |
Chromaticism Based on Contrary Motion | 573 | |
Equal Divisions of the Octave | 581 | |
Points for Review | 591 | |
Exercises | 592 | |
32 | Chromaticism in Larger Contexts | 595 |
New Modulatory Techniques | 595 | |
Chromatic Tonal Areas | 604 | |
Points for Review | 615 | |
Exercises | 615 | |
Appendix I | Keyboard Progressions | 619 |
Appendix II | Score Reduction | 639 |
Index of Musical Examples | 643 | |
Subject Index | 647 |