Harmony & Voice Leading (4th edition)

727 Pages·2011·21.11 MB·English

by  Edward Aldwell

better
Want grades
more easily?
Take advantage of our powerful new Premium Website!
Now available with the text, the new Downloadable audio content
Premium Website for Harmony and Voice from the text’s examples
Leading features essential learning resources
designed to help you succeed in the tonal
theory course, including:
Guided exercises
Preliminary exercises
from the text
An electronic version of
the student workbook
If access to the new Premium Website was not included with
your text, simply visit www.CengageBrain.com to purchase
your instant access card!
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
AAllddwweellll__iiffcc__ssee..iinndddd 11 22//11//1100 22::3399 PPMM
EDITION
IV
Harmony
&
Voice Leading
Edward Aldwell
The Curtis Institute of Music
Mannes College of Music
Carl Schachter
Mannes College of Music
The Juilliard School
Allen Cadwallader
Oberlin Conservatory of Music
Australia (cid:129) Brazil (cid:129) Japan (cid:129) Korea (cid:129) Mexico (cid:129) Singapore (cid:129) Spain (cid:129) United Kingdom (cid:129) United States
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd ii 22//1122//1100 66::5588::3355 AAMM
Harmony & Voice Leading, Fourth Edition © 2011, 2008, 2003 Schirmer, Cengage Learning
Edward Aldwell, Carl Schachter,
ALL RIGHTS RESERVED. No part of this work covered by the copyright
and Allen Cadwallader
herein may be reproduced, transmitted, stored, or used in any form or by
Publisher: Clark G. Baxter any means, graphic, electronic, or mechanical, including but not limited to
photocopying, recording, scanning, digitizing, taping, Web distribution,
Assistant Editor: Nell Pepper
information networks, or information storage and retrieval systems, except
Editorial Assistant: Ashley Bargende
as permitted under Section 107 or 108 of the 1976 United States Copyright
Senior Media Editor: Wendy Constantine Act, without the prior written permission of the publisher.
Marketing Manager: Mark Haynes
Marketing Coordinator: Josh Hendrick For product information and technology assistance, contact us at
Cengage Learning Customer & Sales Support, 1-800-354-9706.
Marketing Communications Manager:
For permission to use material from this text or product,
Heather Baxley
submit all requests online at www.cengage.com/permissions.
Art Director: Faith Brosnan Further permissions questions can be e-mailed to
Content Project Manager: Georgia Young [email protected].
Senior Manufacturing Buyer: Justin Palmiero
Permissions Acquisitions Manager: Library of Congress Control Number: 2009942240
Roberta Broyer
ISBN-13: 978-0-495-18975-6
Production Service/Compositor:
Graphic World Inc. ISBN-10: 0-495-18975-8
Text Designer: Glenna Collett
Cover Designer: Pehlke Design Schirmer
Cover Image: The Art Archive/Bach House 20 Channel Center Street
Leipzig/Alfredo Dagli Orti. From the Boston, MA 02210
autograph score of the Invention in F major USA
by J. S. Bach
Cengage Learning is a leading provider of customized learning solutions
with offi ce locations around the globe, including Singapore, the United
Kingdom, Australia, Mexico, Brazil, and Japan. Locate your local offi ce at
www.cengage.com/global.
Cengage Learning products are represented in Canada by Nelson
Education, Ltd.
To learn more about Schirmer, visit www.cengage.com/Schirmer.
Purchase any of our products at your local college store or at our preferred
online store www.CengageBrain.com.
Printed in the United States of America
1 2 3 4 5 6 7 14 13 12 11 10
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd iiii 22//1122//1100 66::5588::3388 AAMM
In Memoriam Edward Aldwell
(January 30, 1938–May 28, 2006)
Edward Aldwell’s untimely death occurred during the planning stages for this
Fourth Edition but before actual work had begun. Nevertheless, his ideas about
music and its teaching are evident on every page of this new edition. Edward was
a complete musician. He was primarily a pianist, and a wonderful one. He was
best known as an interpreter of Bach, and indeed he performed most of Bach’s
keyboard music and recorded it extensively. But he was also a marvelous player
of Mozart, Beethoven, Schubert, Chopin, Brahms, Fauré, Hindemith, and oth-
ers. His interest in theory and analysis developed out of a desire to hear and
understand music better so that he, and those he taught, would learn to perform
better. He had little (if indeed any) interest in theoretical speculation for its own
sake, but he was convinced that a comprehensive grounding in counterpoint,
thoroughbass, and related disciplines would lead to more insightful—and even
to more technically secure—performances. Edward was a great teacher both of
theory and piano; he was also an outstanding chamber-music coach. His perfor-
mance students benefited from his analytical insights, and his theory students
benefited from his ability to derive implications for performance from theoretical
observations—and from the way he translated these implications into sound in
his beautiful demonstrations at the piano. My work with Edward on Harmony &
Voice Leading was a genuine and close collaboration; whatever might be good in
the book is due equally to both of us. Our friendship lasted more than forty years,
and his death is a grievous loss to me and to the countless students and colleagues
who gained so much from his artistry and wisdom.
Carl Schachter
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd iiiiii 22//1122//1100 66::5588::3388 AAMM
Contents
Preface to the Fourth Edition xi
Preface to the Third Edition xiii
PART I The Primary Materials and Procedures 1
1 Key, Scales, and Modes 3
Tonal Relationships; Major Keys 4
Minor Keys; Modes; Tonality 14
2 Intervals 21
Recognizing and Constructing Intervals 21
The Overtone Series 24
Consonance and Dissonance 26
Intervals in a Key 30
3 Rhythm and Meter 35
Rhythmic Organization 35
Rhythm and Dissonance Treatment 43
4 Triads and Seventh Chords 46
Triads 47
Seventh Chords 56
Texture and Structure 59
5 Introduction to Counterpoint 61
Species Counterpoint 62
Cantus Firmus 64
First Species 65
Second Species 69
Third Species 74
Fourth Species 78
Fifth Species 85
Exercises 91
v
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd vv 22//1122//1100 66::5588::3388 AAMM
vi Contents
6 Procedures of Four-Part Writing 93
Chord Construction 93
Counterpoint in Chorale Textures: Voice Leading 103
Points for Review 110
Exercises 111
PART II I-V-I and Its Elaborations 113
7 I, V, and V7 115
Tonic and Dominant 116
I-V-I in Four Parts 118
The Dominant Seventh 122
Points for Review 128
Exercises 129
8 I6, V 6, and VII6 131
I6 and V6 132
VII6 (Leading-Tone Triad) 138
Points for Review 142
Exercises 143
9 Inversions of V7 147
V 6 , V 4 , and V 4 147
5 3 2
Contrapuntal Expansions of Tonic and Dominant 154
Points for Review 159
Exercises 159
10 Leading to V: IV, II, and II6 161
Intermediate Harmonies 162
IV and II in Contrapuntal Progressions 169
Expansions of II and IV 172
Harmonic Syntax; Rhythmic Implications 175
Points for Review 178
Exercises 179
11 The Cadential 6 181
4
An Intensification of V 181
Points for Review 191
Exercises 191
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd vvii 22//1122//1100 66::5588::3399 AAMM
Contents vii
12 VI and IV 6 194
Uses of VI 195
Uses of IV 6 200
Points for Review 205
Exercises 205
13 Supertonic and Subdominant Seventh Chords 208
Supertonic Seventh Chords 209
Subdominant Seventh Chords 221
Points for Review 224
Exercises 225
14 Other Uses of IV, IV 6, and VI 229
IV and IV 6 230
VI 236
Summary of Cadences 242
Points for Review 243
Exercises 243
15 V as a Key Area 245
Tonicization and Modulation 246
Applications to Written Work 260
Points for Review 263
Exercises 263
16 III and VII 265
Uses of III 266
Uses of VII 275
Points for Review 280
Exercises 280
PART III 5 , 6 , and 6 Techniques 283
3 3 4
17 5 -Chord Techniques 285
3
Progressions by 5ths and 3rds 285
Contrapuntal Chord Functions 290
V as a Minor Triad 296
Points for Review 299
Exercises 299
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd vviiii 22//1122//1100 66::5588::3399 AAMM
viii Contents
18 Diatonic Sequences 301
Compositional Functions 302
Sequences with Descending 5ths 306
Sequences with Ascending 5ths 310
Sequences Using the Ascending 5-6 Technique 312
Sequences Using the Descending 5-6 Technique (Falling in 3rds) 316
Less Frequent Sequential Patterns 319
Sequences Moving to Tonicized V 321
Sequences in Minor 323
Points for Review 326
Exercises 328
19 6 -Chord Techniques 330
3
6 Chords in Parallel Motion 331
3
Other Uses of 6 Chords 337
3
Points for Review 343
Exercises 343
20 6 -Chord Techniques 346
4
Dissonant 6 Chords 348
4
Special Treatment of Cadential 6 Chords 356
4
Consonant 6 Chords 361
4
Some Special Cases 363
Points for Review 365
Exercises 365
PART IV Elements of Figuration 369
21 Melodic Figuration 371
Chordal Skips (Arpeggios) 373
Passing and Neighboring Tones 376
Points for Review 388
Exercises 388
22 Rhythmic Figuration 392
Suspensions 392
Anticipations 410
The Pedal Point 414
Points for Review 416
Exercises 417
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd vviiiiii 22//1122//1100 66::5588::3399 AAMM
Contents ix
PART V Dissonance and Chromaticism I 419
23 Leading-Tone Seventh Chords 421
The Diminished Seventh Chord 422
The Half-Diminished Seventh Chord 429
Points for Review 432
Exercises 433
24 Mixture 435
Combining Modes 436
Points for Review 447
Exercises 447
25 Remaining Uses of Seventh Chords 449
Seventh Chords in Sequence 450
Expanded Treatment of Seventh Chords 456
Apparent Seventh Chords 460
Points for Review 465
Exercises 465
26 Applied V and VII 467
Applied Chords 468
Chords Applied to V 472
Other Applied Chords 477
Applied Chords in Sequence 483
Points for Review 492
Exercises 492
27 Diatonic Modulation 494
Modulatory Techniques 495
Modulation, Large-Scale Motion, and Form 501
Points for Review 509
Exercises 509
PART VI Dissonance and Chromaticism II 515
28 Seventh Chords with Added Dissonance 517
Ninths 517
“Elevenths” and “Thirteenths” 528
Points for Review 533
Exercises 533
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
8899775566__0000__FFMM__ii--xxvvii..iinndddd iixx 22//1122//1100 66::5588::3399 AAMM