Table Of Content

W. - NORTON & COMPANY > NEW YORK LONDON *> S EC ON D EDITION HARMONIC PRACTICE IN ON A L MUS IC Robert Gauldin PROFESSOR EMERITUS OF MUSIC THEORY, EASTMAN SCHOOL OF MUSIC W.W. Norton&Companyhasbeenindependentsinceitsfoundingin 1923,whenWilliamWarderNortonandMaryD. HerterNortonfirst publishedlecturesdeliveredatthePeople’sInstitute,theadulteducation divisionof NewYorkCity’sCooperUnion.TheNortonssoon expanded theirprogrambeyondtheInstitute,publishingbooksbycelebrated academicsfromAmericaandabroad. Bymid-century,thetwomajorpillars ofNorton’spublishingprogram—tradebooksandcollegetexts—were firmlyestablished. Inthe 1950s,theNortonfamilytransferredcontrolof thecompanytoitsemployees, andtoday—witha staffoffourhundredand acomparablenumberoftrade,college,andprofessionaltitlespublished eachyear—W.,W. Norton&Companystandsasthelargestandoldest publishinghouseownedwhollybyitsemployees. Copyright © 2004, 1997byW.W. Norton&Company, Inc. Allrightsreserved. PRINTED INTHE UNITEDSTATES OFAMERICA SecondEdition Compositionby UG/GGSInformation Services, Inc. ManufacturingbyCourier, Westford. Editor:MaribethAndersonPayne ProjectEditor: ChristopherMiragliotta AssistantEditor:AllisonBenter DirectorofManufacturing—College:RoyTedoff ManagingEditor—College:MarianJohnson BookDesigner:PaulLacy LibraryofCongressCataloging-in-Publication Data Gauldin, Robert, 1931- Harmonicpracticeintonalmusic/Robert Gauldin —2nd ed. cm. Includesbibliographical referencesandindexes, ISBN0-393-97666-1 1. Harmony. I. Title. MT50.G2862004 781.2'5—de22 2003066237 W.W. Norton&Company, Inc. 500FifthAvenue, NewYork, NY 10110 www. wwnorton.com W W Norton &Company Ltd. Castle louse, 75-76Wells Street, London WIT30T 12 3 4 5 6 7 8 9 O FOR Bear, Stick, Gina, and Dark Angel \ \ CONTENTS PREFACE (TO THE TEACHER) XXi1 INTRODUCTION (TO THE STUDENT) Xx1x THE BASIC ELEMENTS OF MUSIC PART ONE Pitch CHAPTER Intervals and 1. Pitch Notation andthe Diatonic Pitch SpellingIntervalswith Accidentals 13 Collection 4 Interval Inversion 14 Pitch Register and Pitch Class 6 Consonant and Dissonant Intervals 16 HalfSteps andAccidentals 7 TERMS AND CONCEPTS FOR The Naturalor White-KeyIntervals 9 REVIEW 1S SimpleandCompound Intervals 12 A BRIEF REVIEW SELF-QUIZ 1S Vil Vili CONTENTS 2 Rhythm and Meter I: Beat, METER, AND RHYTHMIC NOTATION 20 The BeatandTempo 20 MeterSignaturesin ModerateTempo 26 Metrical Groupingand Meter 22 Some Guidelines forRhythmic Division and Subdivision Notation 28 ofthe Beat 28 TERMS AND CONCEPTS FOR Rhythmic Notation 24 REVIEW 29 The BeatValue 25 A BRIEF REVIEW SELF-OUIZ 30 3 Tonic, Scale, and Melody 32 Tonic andTonality 32 The Function ofScale Degrees The Major Mode and Major Scale 35 in Melody 44 Diatonic Scale Degrees 36 Melodic Phrases 45 The Minor Mode and Minor Scale 36 Melodic Cadences 46 The TranspositionofScales Two MelodicAnalyses 49 and Melodies 40 TERMS AND CONCEPTS FOR Relative and Parallel Keys 41 REVIEW 92 The Circle of5ths 42 A BRIEF REVIEW SELF-QUIZ 52 Key Signatures 43 CHAPTER Triads and Seventh Chords 55 4. Root-Position Majorand MinorTriads 56 Seventh Chords 62 Inversions ofMajorand MinorTriads 57 Inversions ofSeventh Chords 64 Dirninished and \igimerted Triads 5S TERMS AND ©CONCEPIS FOR Triad SpellingandNotation 59 REVIEW 65 Figured Bass 59 A BRIEF REVIEW SELF-QUIZ 65 cuapteR 5 Musical Texture and Chordal Spacing 67 Basic Categories ofTexture 67 Voice Movementwithin the Same Triad 76 Strictvs. Free Texture 71 _ Chordal Implication inTwo-Voice Four-Voice Texture 72 Texture 77 Chordal Spacingin Four-Voice TERMS AND CONCEPTS FOR Texture 74 REVIEW 79 Doublingin Four-Voice Chords 75 A BRIEF REVIEW SELF-OUIZ 79 CONTENTS 1x CHAPTER R 6 Partwriting in Four-Voice Texture 82 Criteriafor MelodicWriting 82 Perfect Intervals in Succession 87 Melodic MotionbetweenVoices 83 Chordal Spacingor Structure 89 Voice Leading 85 Chordal Doubling 90 Partwriting 85 TERMS AND CONCEPTS FOR 9 Principles ofMelodicWriting 86 REVIEW ConnectingChords 86 A BRIEF REVIEW SELF-QUIZ 92 cHuapter 7 Melodic Figuration and Dissonance I: CATEGORIES OF EMBELLISHING TONES Q4 Essentialand EmbellishingNotes 95 Accented/LeapingEmbellishing Chordal Embellishment andCompound Tones 107 Melody 96 Free Tones 108 Categories ofDissonant Embellishing Consonant EmbellishingTones 109 Tones 98 The Pedal Point 110 Unaccented/Stepwise Embellishing The Perception ofEmbellishing Tones 99 Tones 110 Unaccented/Leaping Embellishing TERMS AND CONCEPTS FOR Tones 102 REVIEW 112 Accented/Stepwise Embellishing A BRIEF REVIEW SELF-QUIZ 112 Tones 104 DIATONIC HARMONY PART TWO CHAPTER §S Introduction to Diatonic Harmony iam Aspects ofHarmony 117 The Influence ofMelodic Sequences Roman Numerals 118 on HarmonicTendency 123 HarmonicTendency 120 Harmonic Models 123 The Underlving Basis for Harmonic TERMS AND CONCEPTS FOR REVIEW 124 Tendency 121 A BRIEF REVIEW SELF-QUIZ 124 x CONTENTS sg The Primary Triads: TONIC. DOMINANT, AND SUBDOMINANTCHORDS 126 Tonalityas the ExtensionofTonic The HalfCadence 134 Harmony 126 The Plagal Cadence 135 The ProlongationofTonic Harmony 127 Voice-Leading Reduction 137 TheTonic, Dominant, and Subdominant Cadential Expansionwithin Triads 128 the Phrase 137 Relationships betweenthe Primary Harmonizing Melodies 140 Chords 129 Elaborating Harmonic Models 142 PartwritingConnectionsbetween TERMS AND CONCEPTS FOR the PrimaryTriads 129 REVIEW 145 The PolaritybetweenTonic andDominant A BRIEF REVIEW SELF-QUIZ 143 Chords 131 TheAuthentic Cadence 133 CHAPTER 10. The Dominant Seventh: emBeLLISHING TUE TONIC HARMONY 146 The Dominant Seventh in Root MelodyHarmonization 159 Position 146 The Elaborationofa Harmonic Preparation and Resolution oftheVi 147 Model 160 The Cadential Dominant Seventh 149 TERMS AND CONCEPTS FOR ArpeggiatedTonic Prolongationwithin REVIEW 162 the Phrase 151 A BRIEF REVIEW SELF-QUIZ 162 ProlongationofTonic Harmonyusing EmbellishingChords 154 cHuaerer ait The Tonic and Subdominant Triads in First Inversion: THE IV AND LAS EMBELLISHING CHORDS 164 Partwritingwith the I® and IV® 165 Melody Harmonization 172 The Use ofthe I® 166 Elaboration ofHarmonic Models 175 The Use ofthe IV° 167 TERMS AND CONCEPTS FOR The IVas an EmbellishingChord 169 REVIEW J77 The I as an EmbellishingChord 170 A BRIEF REVIEW SELF-QUIZ 177 CONTENTS xi cuHaprer 12. Phrase Structure and Grouping 179 Phrase Length 179 The InternalAnatomyofPhrases: LargerPhrase Grouping: The Period Sub-Phrases and Sentence Family 181 Structure 192 Double Periods 184 Motives andTheir Development 193 Some Miniature Formal Designs 186 Pitch and Rhythmic Motives 196 Phrase Periodicity 187 TERMS AND CONCEPTS FOR REVIEW 197 Phrase Extension, Contraction, and Elision 189 A BRIEF REVIEW SELF-QUIZ 195 VariedPhrase Lengths 191 CHAPTER 13. Linear Dominant Chords: vie. AND INVERSIONS OF V7 200 TheV°, vii°®, and Inversions of Vi 200 ExceptionalTreatments ofthe Chordal Tth 213 Uses oftheV° andvii® 202 Extended EmbellishmentoftheTonic EmbeddedVoice-Leading Motion 204 Harmony 215 Examples oftheV® andvii® in Music Literature 205 MelodyHarmonization 216 TERMS AND CONCEPTS FOR Inversions ofthe Vi 205 REVIEW 219 Examples ofInversions ofV'in Music Literature 208 A BRIEF REVIEW SELF-QUIZ 220 Arpeggiated Extensions ofDominant Harmony 211 CHAPTER The Pre-Dominant II and II’ Chords ooo 14. hbb The Supertonic Family 222 Prolongation ofthe Pre-Dominant Partwritingwith Supertonic Chords 224 Function 234 The Pre-Dominantii®andii? inCadential MelodyHarmonization 237 Formulas 225 TERMS AND CONCEPTS FOR Supertonic Harmonyin Embellishing REVIEW 239 Progressions 229 A BRIEF REVIEW SELF-QUIZ 240 Examples ofSupertonic Harmonyin Music Literature 230