Advanced Harmony, Theory and Practice

(NOTE: Most chapters conclude a Summary). 1. Modulation. Modulation. Relationship of keys. Modulation by pivot chord. Determining the triad common to two keys. Modulation by sequence. Direct change of key. Secondary tonal levels. Analysis of modulations. Part- writing modulations. Melody harmonization. Keyboard harmony. 2. Secondary Leading Tone Triads and Seventh Chords; Other Diminished Seventh Chords. Secondary leading tone triads. Uses of secondary leading tone triads. Diminished seventh chords. Terminology variant. The leading tone seventh chord. Uses of the leading tone. Secondary leading tone seventh chords. Regular resolution of secondary leading tone seventh chords. Early resolution of the seventh. The nondominant use of diminished seventh chords. Other considerations. Chords in succession. Descending resolution of the root. The melodic augmented second. Harmonic analysis. Part-writing diminished triads and seventh chords. Melody harmonization. Keyboard harmony. 3. Modulation with Diminished Seventh Chords. Modulating to all keys from a single o7 chord. Using the o7 as a pivot chord. The secondary leading tone seventh chord as a pivot chord. The non-dominant diminished seventh chord as a pivot chord. Alternate spellings of diminished seventh chords. Modulation by resolving early one member of a diminished seventh chord. Harmonic analysis. Writing a modulation using the diminished seventh chord as a pivot. Writing modulations making use of early resolutions. Keyboard harmony. 4. Binary and Ternary Forms. Review of smaller forms. Binary and ternary forms defined. Binary form. Ternary form. Rounded binary or incipient ternary. Ternary form. Analysis. 5. Application of Part-Writing Procedures to Instrumental Music. Introduction. Similarities between vocal and instrumental music. Differentiating instrumental from vocal writing. Projects in writing for the keyboard. Realizing a baroque figured bass. Harmonizing a folk song as vocal line with accompaniment. Setting a poem. Writing original music. 6. Diatonic Seventh Chords. The major seventh chord. Uses of single diatonic seventh chords. Diatonic seventh chords in sequences. Three voices. Sequences in four voices. Harmonic analysis. Writing single diatonic seventh chords. Writing harmonic sequences in three and four voices. Realization of baroque figured basses. Keyboard harmony. 7. Borrowed Chords; The Neapolitan Sixth Chord; Augmented Triads. Borrowed chords. The borrowed chord and tonicization. Temporary change of mode. Modulation by change of mode. Harmonic analysis. The Neapolitan sixth chord. The secondary dominant of the Neapolitan sixth chord. The Neapolitan chord in a sequence . The Neapolitan as a pivot chord. Harmonic analysis. The augmented triad. The augmented triad in context. Other augmented sonorities. Harmonic analysis. Writing borrowed chords, the Neapolitan sixth chord, and augmented triads. Realizing baroque figured basses. Keyboard harmony. 8. Augmented Sixth Chords. The conventional augmented sixth chords, minor keys. The conventional augmented sixth chords, major keys. Spelling augmented sixth chords. Alternate spelling of the German sixth chord in a major key. Harmonic analysis. Writing augmented sixth chord. Melody harmonization. Keyboard harmony. 9. Augmented Sixth Chords: Modulation and Other Uses. Modulation with the German sixth chord. Spelling the German sixth pivot. Harmonic analysis. Writing modulations. Other uses of augmented sixth chords. Augmented minor seventh chords. Harmonic analysis. Keyboard harmony. 10. Chords of the Ninth, Eleventh, and Thirteenth. Chords of the ninth: the ninth resolves before a change of root, the ninth resolves simultaneously with the root, the ninth and seventh are arpeggiated, irregular resolutions. Eleventh and thirteenth chords. Harmonic analysis. Writing ninth chords. The ninth chord in the harmonic sequence. Writing harmonic sequences. Keyboard harmony. 11. Chords and Progressions in Special Situations. Some less common chord structures. Complex harmonic progression. Harmonic analysis. 12. The Close of the Nineteenth Century--The Beginning of New Directions. Review of traditional harmony. Triads in chromatic third relationship. Root movement by tritone. Evasion of tonic. Unconventional root movement. Indeterminate tonic implication. Harmonic analysis. Writing assignments. 13. Debussy and Impressionism. Impressionism. Tonality and cadence structure. The whole tone scale. The pentatonic scale. The medieval modes. Chords and harmonic progressions. Conventional chords. Quartal and quintal harmony. Added tone chords. Tritones and augmented fifths. Suggestions for analysis. 14. After Debussy: An Introduction to Twentieth-Century Music. Preliminary discussion and bibliography. 15. Twentieth-Century Music: Melody, Rhythm, and Harmony. Melody: Modal derivations, non-tonal melodic lines. Meter and rhythm: syncopation, successive meter changes, new meter signatures, polymeter, jazz patterns. Harmony: traditional chord types, superimposed triads, other chord types. Analysis. Suggested writing activities. 16. Serial Composition and Later Twentieth-Century Practices. Atonality. Twelve-tone systems. Analysis. Three-note cells. Combinatoriality. Additional uses of the row. Other uses of serialism. Music since 1950. Aleatory music, music without notation, graphic scores, graphic staff notation, new sound sources. Appendix 1: The Essentials of Part-Writing. Appendix 2: Instrumentation. Index.