MARC Record from harvard_bibliographic_metadata

LEADER: 08306nam a2200349 a 4500
001 000613290-1
005 20020606090541.3
008 870825s1987 nyug 00110 eng
010 $a 86023901 /MN
020 $a0393954803
035 0 $aocm14692175
035 1 $aMAHS87B683
035 1 $zWAWC87B517
040 $dWaBeW$dMH-Mu
050 0 $aMT50$b.P665 1987
082 0 $a781.3$219
100 1 $aPiston, Walter,$d1894-1976.
245 10 $aHarmony /$cWalter Piston.
250 $a5th ed. /$brevised and expanded by Mark DeVoto.
260 0 $aNew York :$bNorton,$cc1987.
300 $axvi, 575 p. :$bmusic ;$c24 cm.
500 $aIncludes indexes.
505 0 $a[pt.] I. Tonal harmony in common practice -- 1. Materials of music : scales and intervals -- Intervals measured by scales -- Scale degrees -- Classification of intervals -- Compound intervals -- Inversion of intervals -- Enharmonic intervals -- 2. Triads -- Chord factors -- Triads on the scale degrees -- Kinds of triads -- Inversions -- Consonant and dissonant intervals -- Triads of the major mode -- Four-part writing -- Doubling -- The leading-tone triad -- Spacing -- Close and open position -- Notation -- 3. Harmonic progression in the major mode : principles of voice leading -- Table of usual root progressions -- Connection of chords : two rules of thumb -- Improving the exercise : beyond the rules of thumb -- Conjunct and disjunct melodic motion -- Rules of motion -- The direct octave and fifth -- Treatment of the leading tone -- Overlapping and crossing -- Similar motion of four voices -- Quick summary of motion rules -- Working on the exercises -- 4. The minor mode -- Scale differences -- Triads in the minor mode -- Harmonic progression -- Voice leading -- 5. Tonality and modality -- Modal scales -- Tonal functions of the scale degrees -- Dominant harmony -- Tonal strength of chords -- Interchangeability of modes -- The Picardy third -- Relationship of relative major and minor : the secondary dominant principle -- Chromaticism and tonality -- Arpeggiation of chord factors.
505 0 $a6. The first inversion, the figured bass -- Arabic-numeral notation -- Doubling -- General effect of the first inversion -- Voice leading -- Consecutive first-inversion triads -- Usage of the various triads -- Keyboard harmony and figured bass -- 7. Function and structure of melody -- Uses of melody -- Shape -- The motive -- The phrase -- Harmony in melody, polyphonic melody -- Melodic variation -- Approach to melodic analysis -- 8. Nonharmonic tones -- Melodic dissonance -- The passing tone -- The neighbor note -- The anticipation -- The appoggiatura -- The suspension -- Escape tone and reaching tone -- Successive nonharmonic tones -- The pedal -- Application -- 9. Harmonization of a melody -- Analysis of the melody -- Melodic skips -- Sustained tones -- Available chords -- Contrapuntal approach : melody and bass -- Use of formulae -- Harmonization and nonharmonic tones -- 10. The six-four chord -- The cadential six-four chord -- The auxiliary six-four chord -- The passing six-four chord -- The arpeggiating six-four chord and other forms -- 11. Cadences -- The authentic cadence -- Perfect and imperfect cadences -- The half cadence -- The Plagal cadence -- Downbeat and upbeat cadences -- The deceptive cadence -- The Phrygian cadence -- Exceptional cadential types.
505 0 $a12. Harmonic rhythm -- Rhythmic texture of music -- Harmonic rhythm and melodic rhythm -- Frequency of root change -- Strength of harmonic progressions -- Dynamic indications -- Nonharmonic chords -- 13. Harmonic structure of the phrase -- Unity and variety -- Number of measures in the phrase -- The phrase beginning -- Connection of phrases -- Sequence -- Phrase and period : antecedent and consequent -- Form of the short piece -- Analysis of short pieces -- Application -- 14. Modulation -- Psychological necessity for change of key -- Elementary relationships : three stages -- Examples of modulating phrases -- Levels of tonality : tonicization and intermediate modulation -- The modulation chain -- Related keys -- Interchange of modes -- Exploration of means -- Enharmonic changes -- Abrupt modulations -- Pivot tones -- 15. The dominant seventh chord -- Origin of the harmonic dissonance -- Regular resolution -- The first inversion -- The second inversion -- The third inversion -- 16. Secondary dominants -- Importance and definition of the secondary dominant function -- Resolution -- Using the secondary dominants -- Dross-relation -- V of II -- V of III -- V of IV -- V of V -- V of VI -- V of VII -- 17. Irregular resolutions -- Definitions of irregularities -- Variety of irregular resolutions -- Irregular resolutions of the secondary dominants.
505 0 $a18. Musical texture -- Vocal and instrumental texture -- Examples of homophonic texture -- Ensemble texture -- The orchestra -- Reduction of textures -- 19. Problems in harmonic analysis -- Purpose of analysis -- Extension of the secondary dominant principle : dual-function chords -- Rules of voice leading : some exceptional circumstances -- Score reading -- 20. The sequence -- The initial pattern -- Harmonic rhythm -- Length of the sequence -- Degree of transposition -- The nonmodulating sequence -- Secondary dominants in the sequence -- The modulating sequence -- The sequence in harmonization -- Keyboard practice -- 21. The diminished seventh chord -- Definitions -- Enharmonic equivalents -- Resolution -- Inversions -- The secondary dominants -- Irregular resolution -- Consecutive diminished sevenths -- Modulation using the diminished seventh chord -- 22. The incomplete major ninth -- The half-diminished seventh chord -- Inversions -- Irregular resolution -- Secondary dominants -- Modulation.
505 0 $a23. Nondominant harmony, seventh chords -- Function of dissonant nondominant chords -- Comparative structure of seventh chords -- The nonharmonic element -- Resolution -- The tonic seventh -- The supertonic seventh -- The mediant seventh -- Subdominant seventh -- The submediant seventh -- The leading-tone seventh -- Nondominant sevenths in sequence -- Modulation -- Neighbor-note harmony : the triad with added sixth -- The half-diminished seventh chord -- 24. Ninth, eleventh, and thirteenth chords -- The complete dominant ninth -- Spacing -- Inversions -- Secondary dominants -- Modulation -- Nondominant ninth chords -- Appoggiature with delayed resolution -- The unresolved appoggiatura -- Eleventh and thirteenth -- 25. Chromatically altered chords : the raised supertonic and submediant -- II⁷ and VI⁷ with raised root and third -- Notation -- Rhythm -- Cross-relation -- Mode -- Irregular resolution -- Modulation -- 26. The Neapolitan sixth -- Definition, resolution, preparation, and doubling -- Secondary relationships -- V of the Neapolitan -- Intermediate modulation -- Modulation with the Neapolitan -- 27. Augmented sixth chords -- Origin as secondary dominants -- Definitions -- Resolution -- Inversions -- Irregular resolutions -- Modulation -- Exceptional forms -- 28. Other chromatic chords -- Enharmonic restrictions of altered scale degrees -- The augmented fifth -- The diminished fifth -- The raised and lowered fifth -- Appoggiatura chords -- Characteristic chromaticism.
505 0 $a[pt.] II. After common practice -- 29. Harmonic practice historically considered -- 30. Extensions of common practice -- Modal scales and modal harmony -- The decline of dominant harmony -- Remote tonal relationship -- The reevaluation of counterpoint -- The independent vertical sonority -- New definitions of tonality -- 31. Scalar and chordal types -- The pentatonic scale -- The whole-tone scale -- Artificial scales -- Parallel and antiparallel harmony -- Tertial harmony -- Quartal harmony -- Quintal harmony -- Secondal harmony -- Pandiatonicism -- Polychords and polytonality -- Modal mixture -- The inverted ninth chord -- Appoggiatura chords -- 32. Extended chromaticism -- Tonality-supporting and tonality-weakening elements -- Afterword -- Appendix I. Acoustical basis of the scale : the harmonic series and equal temperament -- Appendix II. Special exercises based on Bach's choral harmonizations.
650 0 $aHarmony.
700 1 $aDeVoto, Mark.
988 $a20020608
906 $0RLIN