The Resource Harmony, Walter Piston

Harmony, Walter Piston

Label
Harmony
Title
Harmony
Statement of responsibility
Walter Piston
Creator
Contributor
Subject
Language
eng
Cataloging source
DLC
http://library.link/vocab/creatorDate
1894-1976
http://library.link/vocab/creatorName
Piston, Walter
Illustrations
music
Index
index present
LC call number
MT50
LC item number
.P665 1987
Literary form
non fiction
http://library.link/vocab/relatedWorkOrContributorName
DeVoto, Mark
http://library.link/vocab/subjectName
  • Harmony
  • Harmonie
  • Harmony
  • Harmonielehre
Label
Harmony, Walter Piston
Instantiates
Publication
Note
Includes indexes
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • [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
  • 6. 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
  • 12. 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
  • 18. 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
  • 23. 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
  • [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
Dimensions
24 cm
Edition
  • 5th ed. /
  • rev. and expanded by Mark DeVoto.
Extent
xvi, 575 pages
Isbn
9780393954807
Lccn
86023901
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
music
System control number
  • (OCoLC)14692175
  • (OCoLC)ocm14692175
Label
Harmony, Walter Piston
Publication
Note
Includes indexes
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • [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
  • 6. 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
  • 12. 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
  • 18. 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
  • 23. 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
  • [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
Dimensions
24 cm
Edition
  • 5th ed. /
  • rev. and expanded by Mark DeVoto.
Extent
xvi, 575 pages
Isbn
9780393954807
Lccn
86023901
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
music
System control number
  • (OCoLC)14692175
  • (OCoLC)ocm14692175

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