A comprehensive volume spanning the entire theory course, Harmony And Voice Leading
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 progressions--linear and harmonic--at an early stage. The first three Units of the book are designed to be taught sequentially, but instructors have the flexibility to teach the latter units in any combination and order they choose.
- Part I: The Primary Materials and Procedures.
1. Key, Scales, and Modes
3. Rhythm and Meter
4. Triads and Seventh Chords
5. Procedures of Four-Part Writing
- Part II: I-V-I and Its Elaborations.
6. I, V, and V7
7. I6, V6, VII6
8. Inversions of V7
9. Leading to V, IV,II, and II7
10. The Cadential 6/4
11. VI and IV6
12. Supertonic and Subdominant Seventh Chords
13. Other Uses of IV, IV6, and VI
14. V as a Key Area
15. III and VII.
- Part III: 5/3, 6/3, and 6/4 Techniques.
16. 5/3-Chord Techniques
17. Diatonic Sequences
18. 6/3-Chord Techniques
19. 6/4-Chord Techniques.
- Part IV: Elements of Figuration.
20. Melodic Figuration
21. Rhythmic Figuration
- Part V: Dissonance and Chromaticism I.
22. Leading-Tone Seventh Chords
24. Remaining Uses of Seventh Chords
25. Applied V and VII
26. Diatonic Modulation.
- Part VI: Dissonance and Chromaticism II.
27. Seventh Chords with Added Dissonance
28. The Phrygian II (Neapolitan)
29. Augmented Sixth Chords
30. Other Chromatic Chords
31. Chromatic Voice-Leading Techniques
32. Chromaticism in Larger Contexts.
- Appendix I: Keyboard Progressions.
- Appendix II: Score Reduction.
- Index of Musical Examples.
- Subject Index.
New To This Edition:
- The text and musical examples have been thoroughly revised for increased clarity and accessibility.
- Clearer visual presentation, increased clarity and consistency of terminology and symbols, and more guidance in the exercises increase the text's effectiveness.
- More precise treatment of chord succession appears under the category of "harmonic syntax."
- Greatly expanded treatment of phrase rhythm and phrase.
- Unit 29, "Augmented Sixth Chords," has been revised to include sections on voice leading, modulation, and moving to applied dominants and non-dominants.
- More exercises of a quasi-compositional nature give students experience in writing phrases and phrase groups. (In the workbooks, a few of these exercises include the setting of texts.)
- A new second Appendix provides instruction on making simple score reductions.
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.