The Resource The contrapuntal harmonic technique of the 18th century,, by Allen Irvine McHose

The contrapuntal harmonic technique of the 18th century,, by Allen Irvine McHose

Label
The contrapuntal harmonic technique of the 18th century,
Title
The contrapuntal harmonic technique of the 18th century,
Statement of responsibility
by Allen Irvine McHose
Creator
Subject
Language
eng
Member of
Cataloging source
WSU
http://library.link/vocab/creatorDate
1902-1986
http://library.link/vocab/creatorName
McHose, Allen Irvine
Illustrations
  • illustrations
  • music
Index
index present
LC call number
MT50
LC item number
.M153 1947a
Literary form
non fiction
Series statement
Eastman school of music series.
http://library.link/vocab/subjectName
  • Harmony
  • Music theory
  • Chorales
  • Harmonie
  • Théorie musicale
  • Chants liturgiques allemands
  • Chorales
  • Harmony
  • Music theory
  • Harmonieleer
  • Contrapunt
  • Compositieleer
  • Barok
Label
The contrapuntal harmonic technique of the 18th century,, by Allen Irvine McHose
Instantiates
Publication
Note
Includes index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • ch. 4.
  • Triads with their roots a third apart (first principle) ; Triads with their roots a third apart as a chromatic progression ;
  • ch. 5.
  • Triads with their roots a fifth apart (conventional exception) ; The triad with a tripled root as a final chord in the cadence ;
  • ch. 6.
  • Major and minor triads containing a doubled third in progressions in which the roots of the triads are a second or a third apart (conventional exception) ;
  • ch. 7.
  • The triad in the first inversion : tonic, subdominant, and dominant triads ;
  • ch. 8.
  • The triad in first inversion : leading tone, supertonic, submediant, and mediant trials
  • pt. 1.
  • ch. 9.
  • The triad in second inversion ;
  • ch. 10.
  • Non-harmonic tones : introduction ;
  • ch. 11.
  • The passing tone ;
  • ch. 12.
  • The suspension ;
  • cg. 13.
  • The neighboring tone : passing tone, suspension, neighboring tone in combinations ;
  • The chorale style:
  • ch. 14.
  • Other non-harmonic tones ;
  • ch. 15
  • Seventh chords : introduction ;
  • ch. 16.
  • The dominant seventh chord ;
  • ch. 17.
  • The supertonic seventh chord ;
  • ch. 18.
  • The leading tone seventh chord in minor ;
  • ch. 1.
  • ch. 19.
  • The subdominant seventh chord in major and minor ;
  • ch. 20.
  • The other diatomic seventh chords ;
  • ch. 21.
  • Altered non-harmonic tones ;
  • ch. 22.
  • . Altered chords : introduction
  • ch. 23.
  • . Altered chords in minor ;
  • Two triads and their roots a fifth apart (first principle) ; Repeated triads (first principle) ;
  • ch. 24.
  • Altered chords in major ;
  • ch. 25.
  • Vertical sonorities containing the interval of the diminished third or the augmented sixth ;
  • ch. 26.
  • Modulation to foreign keys
  • pt. 2.
  • The harmonization of the chorale melody:
  • ch. 27.
  • The harmonization of the chorale melody : introduction ;
  • ch. 2.
  • ch. 28.
  • Harmonization of the chorale melody using triads ;
  • ch. 29.
  • Harmonization of the chorale melody using non-harmonic tones ;
  • ch. 30.
  • Harmonization of the chorale melody using seventh chords ;
  • ch. 31. Harmonization of the chorale melody using altered non-harmonic tones and altered chords ;
  • ch. 32.
  • Harmonization of modal chorale melodies
  • pt. 3.
  • Two triads with their roots a fifth apart (second principle) ; Repeated triads (second principle) ;
  • Contrapuntal harmonic style:
  • ch. 33.
  • Two-voice harmonic counterpoint ;
  • ch. 34.
  • Strict imitation : the real answer ;
  • ch. 35.
  • Free imitation : the tonal answer ;
  • ch. 36.
  • Mirror, augmentation, and diminution imitation ;
  • ch. 37.
  • ch. 3.
  • Two-voice compositions ;
  • ch. 38.
  • Three-voice harmonic compositions ;
  • ch. 39.
  • Three-voice compositions ;
  • ch. 40.
  • Four-voice harmonic counterpoint ;
  • ch. 41.
  • Some typical 18th century compositions
  • Triads with their roots a second apart (first principle) ;
Dimensions
27 cm.
Extent
2 pages vii-xvi, 438 pages
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations (music)
System control number
(OCoLC)615924
Label
The contrapuntal harmonic technique of the 18th century,, by Allen Irvine McHose
Publication
Note
Includes index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • ch. 4.
  • Triads with their roots a third apart (first principle) ; Triads with their roots a third apart as a chromatic progression ;
  • ch. 5.
  • Triads with their roots a fifth apart (conventional exception) ; The triad with a tripled root as a final chord in the cadence ;
  • ch. 6.
  • Major and minor triads containing a doubled third in progressions in which the roots of the triads are a second or a third apart (conventional exception) ;
  • ch. 7.
  • The triad in the first inversion : tonic, subdominant, and dominant triads ;
  • ch. 8.
  • The triad in first inversion : leading tone, supertonic, submediant, and mediant trials
  • pt. 1.
  • ch. 9.
  • The triad in second inversion ;
  • ch. 10.
  • Non-harmonic tones : introduction ;
  • ch. 11.
  • The passing tone ;
  • ch. 12.
  • The suspension ;
  • cg. 13.
  • The neighboring tone : passing tone, suspension, neighboring tone in combinations ;
  • The chorale style:
  • ch. 14.
  • Other non-harmonic tones ;
  • ch. 15
  • Seventh chords : introduction ;
  • ch. 16.
  • The dominant seventh chord ;
  • ch. 17.
  • The supertonic seventh chord ;
  • ch. 18.
  • The leading tone seventh chord in minor ;
  • ch. 1.
  • ch. 19.
  • The subdominant seventh chord in major and minor ;
  • ch. 20.
  • The other diatomic seventh chords ;
  • ch. 21.
  • Altered non-harmonic tones ;
  • ch. 22.
  • . Altered chords : introduction
  • ch. 23.
  • . Altered chords in minor ;
  • Two triads and their roots a fifth apart (first principle) ; Repeated triads (first principle) ;
  • ch. 24.
  • Altered chords in major ;
  • ch. 25.
  • Vertical sonorities containing the interval of the diminished third or the augmented sixth ;
  • ch. 26.
  • Modulation to foreign keys
  • pt. 2.
  • The harmonization of the chorale melody:
  • ch. 27.
  • The harmonization of the chorale melody : introduction ;
  • ch. 2.
  • ch. 28.
  • Harmonization of the chorale melody using triads ;
  • ch. 29.
  • Harmonization of the chorale melody using non-harmonic tones ;
  • ch. 30.
  • Harmonization of the chorale melody using seventh chords ;
  • ch. 31. Harmonization of the chorale melody using altered non-harmonic tones and altered chords ;
  • ch. 32.
  • Harmonization of modal chorale melodies
  • pt. 3.
  • Two triads with their roots a fifth apart (second principle) ; Repeated triads (second principle) ;
  • Contrapuntal harmonic style:
  • ch. 33.
  • Two-voice harmonic counterpoint ;
  • ch. 34.
  • Strict imitation : the real answer ;
  • ch. 35.
  • Free imitation : the tonal answer ;
  • ch. 36.
  • Mirror, augmentation, and diminution imitation ;
  • ch. 37.
  • ch. 3.
  • Two-voice compositions ;
  • ch. 38.
  • Three-voice harmonic compositions ;
  • ch. 39.
  • Three-voice compositions ;
  • ch. 40.
  • Four-voice harmonic counterpoint ;
  • ch. 41.
  • Some typical 18th century compositions
  • Triads with their roots a second apart (first principle) ;
Dimensions
27 cm.
Extent
2 pages vii-xvi, 438 pages
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations (music)
System control number
(OCoLC)615924

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