Harmony and Voice Leading (4th Edition)

$19.99

Download Harmony and Voice Leading (4th Edition) written by Edward Aldwell, Carl Schachter, Allen Cadwallader in PDF format. This book is under the category Art and bearing the isbn/isbn13 number 495189758/9780495189756. You may reffer the table below for additional details of the book.

SKU: 010884a8953b Category: Tag:

Specifications

book-author

Edward Aldwell, Carl Schachter, Allen Cadwallader

publisher

Cengage Learning; 4th edition

file-type

PDF

pages

727 pages

language

English

asin

B00B7JUCNI

isbn10

495189758

isbn13

9780495189756


Book Description

An accessible and clear volume spanning the entire theory course; HARMONY AND VOICE LEADING; 4th Edition (PDF); begins with coverage of basic concepts of harmony and theory 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 — harmonic and linear — at an early stage. The 4th edition now includes a chapter introducing species counterpoint and integrates that material into the rest of the textbook. A new Premium Website for students will provide interactive; guided exercises for new material covered in every unit and musical examples from the literature in both streaming and downloadable format. The Instructor Companion Site will include Guidelines for Instructors; a new instructor’s manual written by Allen Cadwallader.

About This Edition

New Features

    • Workbooks and CD sets will be available in print or on a password-protected site.
    • The textbook and musical examples have been thoroughly revised for increased clarity and accessibility.
    • A new chapter introduces species counterpoint; and the textbook integrates this material into subsequent units.
    • A new instructor’s companion site will include “Guidelines for Instructors;” an instructor’s manual written by Allen Cadwallader.
    • Clearer visual presentation; increased clarity and consistency of terminology and symbols; and more guidance in the exercises increase the text’s effectiveness.
    • A new; password-protected premium web site for students includes interactive; guided exercises for material covered in the text and musical examples from the literature in both streaming and downloadable format.

Additional Features

    • Important points are summarized in boxes as needed throughout each unit to help students check the progress of their learning.
    • “Points for Review” at the end of each unit (before the exercises) offer brief; consecutively numbered summations of the key concepts covered in that unit.
    • Exercises included at the end of each unit have students undertake such creative assignments as writing short progressions of various types and harmonizing melodies with unfigured/figured bass lines.
    • Each unit includes 10 to 40 musical examples–brief excerpts that illustrate the specific harmonic and voice-leading techniques discussed at that point. The musical examples are drawn primarily from masterpieces of concert repertoire; but a few abstract pieces composed by the authors are also included.

P.S The instructor resources for this ebook are available for sale separately. Contact for more info.

NOTE: This purchase only includes the Harmony and Voice Leading 4e PDF eBook. No online codes; web access or CD is included in this purchase.

Additional information

book-author

Edward Aldwell, Carl Schachter, Allen Cadwallader

publisher

Cengage Learning; 4th edition

file-type

PDF

pages

727 pages

language

English

asin

B00B7JUCNI

isbn10

495189758

isbn13

9780495189756

Table of contents


Table of contents :
Cover Page……Page 1
Title Page……Page 3
Copyright Page……Page 4
Dedication……Page 5
Preface to the Fourth Edition……Page 12
Preface to the Third Edition……Page 14
Contents……Page 6
Part I The Primary Materials and Procedures……Page 18
1 Key, Scales, and Modes……Page 19
Tonal Relationships; Major Keys……Page 20
Minor Keys; Modes; Tonality……Page 30
Recognizing and Constructing Intervals……Page 37
The Overtone Series……Page 40
Consonance and Dissonance……Page 42
Intervals in a Key……Page 46
Rhythmic Organization……Page 51
Rhythm and Dissonance Treatment……Page 59
4 Triads and Seventh Chords……Page 62
Triads……Page 63
Seventh Chords……Page 72
Texture and Structure……Page 75
5 Introduction to Counterpoint……Page 77
Species Counterpoint……Page 78
Cantus Firmus……Page 80
First Species……Page 81
Second Species……Page 85
Third Species……Page 90
Fourth Species……Page 94
Fifth Species……Page 101
Exercises……Page 107
Chord Construction……Page 109
Counterpoint in Chorale Textures: Voice Leading……Page 119
Points for Review……Page 126
Exercises……Page 127
Part II I-V-I and Its Elaborations……Page 128
7 I, V, and V(7)……Page 129
Tonic and Dominant……Page 130
I-V-I in Four Parts……Page 132
The Dominant Seventh……Page 136
Points for Review……Page 142
Exercises……Page 143
8 I(6), V(6), and VII(6)……Page 145
I(6) and V(6)……Page 146
VII(6) (Leading-Tone Triad)……Page 152
Points for Review……Page 156
Exercises……Page 157
V65, V43, and V42……Page 161
Contrapuntal Expansions of Tonic and Dominant……Page 168
Exercises……Page 173
10 Leading to V: IV, II, and II(6)……Page 175
Intermediate Harmonies……Page 176
IV and II in Contrapuntal Progressions……Page 183
Expansions of II and IV……Page 186
Harmonic Syntax; Rhythmic Implications……Page 189
Points for Review……Page 192
Exercises……Page 193
An Intensification of V……Page 195
Exercises……Page 205
12 VI and IV(6)……Page 208
Uses of VI……Page 209
Uses of IV(6)……Page 214
Exercises……Page 219
13 Supertonic and Subdominant Seventh Chords……Page 222
Supertonic Seventh Chords……Page 223
Subdominant Seventh Chords……Page 235
Points for Review……Page 238
Exercises……Page 239
14 Other Uses of IV, IV(6), and VI……Page 243
IV and IV(6)……Page 244
VI……Page 250
Summary of Cadences……Page 256
Exercises……Page 257
15 V as a Key Area……Page 259
Tonicization and Modulation……Page 260
Applications to Written Work……Page 274
Exercises……Page 277
16 III and VII……Page 279
Uses of III……Page 280
Uses of VII……Page 289
Exercises……Page 294
Part III 53, 63, and 64 Techniques……Page 297
Progressions by 5ths and 3rds……Page 298
Contrapuntal Chord Functions……Page 303
V as a Minor Triad……Page 309
Exercises……Page 312
18 Diatonic Sequences……Page 314
Compositional Functions……Page 315
Sequences with Descending 5ths……Page 319
Sequences with Ascending 5ths……Page 323
Sequences Using the Ascending 5-6 Technique……Page 325
Sequences Using the Descending 5-6 Technique (Falling in 3rds)……Page 329
Less Frequent Sequential Patterns……Page 332
Sequences Moving to Tonicized V……Page 334
Sequences in Minor……Page 336
Points for Review……Page 339
Exercises……Page 341
19 63-Chord Techniques……Page 343
63 Chords in Parallel Motion……Page 344
Other Uses of 63 Chords……Page 350
Exercises……Page 356
20 64-Chord Techniques……Page 359
Dissonant 64 Chords……Page 361
Special Treatment of Cadential 64 Chords……Page 369
Consonant 64 Chords……Page 374
Some Special Cases……Page 376
Exercises……Page 378
Part IV Elements of Figuration……Page 381
21 Melodic Figuration……Page 382
Chordal Skips (Arpeggios)……Page 384
Passing and Neighboring Tones……Page 387
Exercises……Page 399
Suspensions……Page 403
Anticipations……Page 421
The Pedal Point……Page 425
Points for Review……Page 427
Exercises……Page 428
Part V Dissonance and Chromaticism I……Page 430
23 Leading-Tone Seventh Chords……Page 431
The Diminished Seventh Chord……Page 432
The Half-Diminished Seventh Chord……Page 439
Points for Review……Page 442
Exercises……Page 443
24 Mixture……Page 445
Combining Modes……Page 446
Exercises……Page 457
25 Remaining Uses of Seventh Chords……Page 459
Seventh Chords in Sequence……Page 460
Expanded Treatment of Seventh Chords……Page 466
Apparent Seventh Chords……Page 470
Exercises……Page 475
26 Applied V and VII……Page 477
Applied Chords……Page 478
Chords Applied to V……Page 482
Other Applied Chords……Page 487
Applied Chords in Sequence……Page 493
Exercises……Page 502
27 Diatonic Modulation……Page 504
Modulatory Techniques……Page 505
Modulation, Large-Scale Motion, and Form……Page 511
Exercises……Page 519
Part VI Dissonance and Chromaticism II……Page 524
Ninths……Page 525
“Elevenths” and “Thirteenths”……Page 536
Exercises……Page 541
29 The Phrygian II (Neapolitan)……Page 544
A Chord Leading to V……Page 545
Other Uses of ♭II……Page 557
Chromatic Notation
……Page 560
Exercises……Page 564
30 Augmented Sixth Chords……Page 567
A Chromatic Preparation for V……Page 568
Approaching Augmented Sixth Chords……Page 573
Details of Voice Leading……Page 580
Augmented Sixths and Modulation……Page 583
“Inversions” of Augmented Sixth Chords……Page 585
Motion to Applied Dominants and Nondominant Chords……Page 588
German Sixth and Dominant Seventh……Page 591
Points for Review……Page 593
Exercises……Page 594
31 Other Chromatic Chords……Page 597
Advanced Uses of Mixture……Page 598
Augmented Triads……Page 604
Altered Dominant Seventh Chords……Page 609
Common-Tone Diminished Seventh Chords……Page 610
Other Chromatic Embellishing Chords……Page 614
Points for Review……Page 615
Exercises……Page 616
32 Chromatic Voice-Leading Techniques……Page 618
Chromaticism Based on Parallel Motion……Page 619
Chromaticism Based on Contrary Motion……Page 631
Equal Divisions of the Octave……Page 639
Points for Review……Page 649
Exercises……Page 650
33 Chromaticism in Larger Contexts……Page 653
New Modulatory Techniques……Page 654
Chromatic Tonal Areas……Page 663
Points for Review……Page 674
Exercises……Page 675
Appendix I Keyboard Progressions……Page 678
Appendix II Score Reduction……Page 700
Appendix III Roman Numerals and Registers; Explanatory Tables and Charts……Page 704
Index of Musical Examples……Page 716
Subject Index……Page 719

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