HARMONIC PRACTICE IN TONAL MUSI1G DST ww -NoRTON & COMPANY - NEW YORK - LONDONSince this page cannot legibly accommodate all the copyright notices, ‘Page 665 constitutes an extension of the copyright page. ‘Copyright © 1997 by W. W. Norton & Company, Ine Allright reserved. PRINTED INTHE UNITED STATES OF AMERICA First Baton ‘The text ofthis book is composed in New Caledonia, eth the display set in Bauer Bodo, Composition by A-R Editions Manufacturing by Courier Book design by Jack Meserls. ‘Cover Illustration: Credit Paul Klee, “Ripe Harvest” © 1095 Artiste Rights Society (ARS), New York/VG Bild-Kunst, Bonn (Cover design by Kevin O'Neill. Library of Congress Cataloging-in-Publication Data Gaul, Robert, 1981- Harmonic practice in tonal music / by Robert Gauldin. Pp om Includes bibliographical references (p. } and index. ISBN 0-393-97074-4 L.Harmony. 1. Title MT50.G288 1007 781.2'5—dea0 96.28016 W..W. Norton & Company, Inc, $00 Fifth Avenue, New York, NY, 10110 Ihetpuhwweesnenorton.com ‘W.W. Norton & Company Ltd, 10 Coptic Street, London WOIA IPU 1234567590| FOR Bear, Stick, Gina, and Dark AngelCONTENT PREFACE (TO THE TEACHER) INTRODUCTION (TO THE STUDENT) CHARTER TL Pitch and Intervals Pitch Notation and the Diatonie Pitch Collection Pitch Register and Pitch-Class 9 Half Steps and Accidentals 10 Intervals n wa xix Spelling Intervals 13, Interval Inversion . 14 Consonant and Dissonant Intervals 15 ‘TERMS AND CONCEPTS FOR REVIEW 16viii convents CHAPTER 2 Rhythionw and Meter E near Mever, \xb | PHMIC NOT YTION ‘The Beat 17 Metrical Grouping and Meter 18 Division ofthe Beat 19 Rhythmie Notation 20 ciarrer a Tonic, Scale, and Melody ‘The Best Value 21 Meter Signatures in Moderate Tempo 22 Meter Signatures in Very Slow or Fast Tempo 23 TEMS AND CONCELTS FOR REVIEW 25 Tonic and Tonality 26 "The Major Mode and Major Seale 28, Diatonio Seale Degrees 29 ‘The Minor Mode and Minor Seale 30 Koys and the Gincle of Sths 32 Relative and Parallel Keys 52 CHAPTER + Key Signatures 33 Melody and Scale Degrees 34 Melodie Phrases 35 Melodic Cadences 36 Long-Range Melodic Motion 38, ‘TERMS AND CON PTS FOR REVIEW AI ‘Triads and Seventh Chords Root Position Major and Minor Triads 42 Inversions of Major and Minor Triads 43 Diminished and Augmented Triads 44 ‘Triad Spelling and Notation 44 Figured Bass 45 Seventh Chords 47 ‘TERMS AND CONCEPTS FOR REVIEW 49 cuapten 3 Musical Texture and Chordal Spacing 50 Basic Categories of Texture 50 Voice Movements within the Strict vs, Free Texture 54 Same Triad 57 FourVoice Texture 54 Chotdal Implication in Two-Voice ‘Chordal Spacing in Four Voice Texture 58 eter ee reer ‘TERMS AND CONCEPTS FOR REVIEW 59 cuapren o Partwriting in Four-Voice Texture 60 Criteria for Melodic Writing 60 Melodie Motion between Voices 61 Voice Leading 62 Partwriting 63 Errors in Melodie Writing 63 Parallel, Similar, and Direct Perfect Intervals 64 Chordal Spacing or Structure 68 Chordal Doubling 70 TERMS AND CONCEPTS FOR REVIEWCONTENTS ix cuarter 7 Melodic Figuration and Dissonance I: soxinvesic roves 73 CChordal Figuration and Compound Accented-Stepwise Nonharmonic Melody 74 Tones 81 Melodie Dissonance 76 ‘Accented Leaping Nonbarmonie Tones 83 Unaccented-Stepwise Nonharmonie Free ‘Tones 84 Tones 76 The Pedal Point 85, Unaccented Leaping Nonharmonic ‘The Perception of Melodic Dissonance 86 Tones 79 TERMS AND CONCEPTS FOR REVIEW 87 carrer & Introduction to Diatonic Harmony "1 Aspects of Harmony 91 ‘The Influence of Melodie Sequences Roman Numerals 92 on Harmonic Tendency 95 Harmonie Models 96 TERMS AND CONCEPTS FOR REVIEW 97 Categories of Harmonic Tendency 95 cusprer 9 Tonic and Dominant Harmony 98 ‘Tonality as the Unfolding of Tonic Axpeggiated Tonie Prolongation within the Harmony 98 Phrase 104 ‘The Prolongation of Tonic Harmony 99 Essential and Embelishing Dominants ‘Tonic and Dominant Chords 100 ‘within the Phrase, 107 ‘Authentic Cadences 101 SUMMARY OF PARTWRITING PROCEDURES nL Half Cadences 102 pee ee MELODY HARMONIZATION 113 TERMS AND CONCEPTS FoR REVIEW 115, charter ro Rhythin and Meter fH: eivtinic pevevtions ssp aera 116 DISSON ANE Asymmetrical Meter 116, Metrical Dissonance 120 Rhythmic Deviations 117 TERMS AND CONCEPTS FOR REVIEW 125Xx CONTENTS chaprer wt The VW and [® Chords 126 ‘The Dominant Seventh in Root Position Prolongation of the Dominant by an 135 Embellishing Tor I® 135 Preparation and Resolution ofthe V"_ 127 A Brief Voice-Leading Analysis 195 ‘Cadential and Embellishing Dominant SOMMARY OF FARTWRITING PROCEDURES Sevenths 128 X ‘The Use of the I’ Chord 132 MELODY HanMoNTzATION 138 ‘TWRMS AND CONCERTS FOR REVIEW 140 cuvpten 12 Phrase Structure and Grouping tal Phrase Length 141 Varied Phrase Lengths 147 ‘The Period, Double Period, and Phrase ‘The Internal Anatomy of Phrases: Group M42 Sub-Phrases and Motives 149 Phrase Periodicity 145 ‘TERMS AND CONCEPTS FOR REVIEW 154 Phrase Extension, Contraction, and Elision 146 cuarter ta Linear Dominant Chords: v°, vies ayp Invensions oF 155, ‘The Influence of Context on Chord Embellishing Dorninants in Musie Function 156 Literatire 164 Embellishing Dominant Chords 157 Further Examples of Embellshing Arpeggiated Extensions of Dominant Dominants 166 Harmony 160 SUMMARY OF PARTWRITING PROCEDURES Exceptional Treatments of the Chordal 7th 168 162 MELops HanwoNtzsrioN 169 TERMS AND CONCEPTS FOR REVIEW chapter 1+ Melodie Figuration and Dissonance IH: susrrystoys ano 173. SINULENNEOUS DISSON ANCES Suspensions in Two-Voice Texture 174 MELODY HARMONIZATION 185 Suspensions in’ Four-Voice Texture 177 ‘The Interaction of Nonharmonie Tones 186 Multiple Suspensions 180 Omamental Resolutions 182 MELODIC DISSONANCE IN FARTWRITING Suspensions as a Compositional Device in AND MELODY KABMONIZATION 159) Variation Sets 183 Suspension Figures in Seventh Chords 184 ‘TENMS AND CONCEPTS FOR REVIEW 191contents xi cuapter 15) Pre-dominant Chords: 1 avo it 192 ‘The TV and II Chords 193 Predominant Chords in Music Literature Pre-dominant Function in Authentic 201 Cadences 193 ‘More Sophisticated Uses of Pre-dominant Pre-dominant Function in Half Cadences 195, Embellishing Pre-dominant Chords within the Phrase 198 ‘The Plagal Cadence 200 ‘The Subdominant as a Neighbor to Toate Harmony 200 cuspter to The § and Other Linear Chords Chords 202 SUMMARY OF PARTWHITING PROCEDURES 204 MELODY HARMONIZATION 206 TERMS AND CONCEPTS FOR REVIEW 210 21 ‘The Accented or Cadential {Chord 212 ‘The Passing Chord 217 The Neighboring Chord 219 ‘The Arpeggiated { Chord 220 The IV and [V7 Chords CHAPTER UT PARTWRITING PROCEDURES AND MELODY HARMONIZATION 221 Diatoniec Linear Chords 292 ‘Treatment of the Chordal 7th 226 ‘The Cadential Supertonic and Subdominant Seventh Chords 226 Pre-dominant Seventh Chords in Music Literature 228 Embellishing Pre-dominant Seventh Chords 230 CUP TER Ut ‘The VE TIL, and Other Diatonic Chords Prolongations of the Pre-dominant Funetion 232 SUNMARY OF PARTWRITING PROCEDURES 235 MELODY HARMONIZATION 236 TERMS AND CONCEPTS FOR RE\IEW 238, 239 ‘The VI Triad as a Voice-Leading Chord 239 Other Uses ofthe VITriad 240 ‘The VI asa Substitute for I: The Deceptive Cadence 242 ‘The VI Triad in Music Literature 243 ‘The Deceptive Cadence in Larger Musical Contests 245 ‘The III Triad within the Phrase 246 Modal Chords 249 The VI" and HI’ Chords 249 Other Diatonic Chords 250 SUMMARY OF RARTWHITING PROCEDURES 252 MELODY HARMONIZATION TERMS AND CONCEPTS FOR REXIEW 253,xii contents cuartes to Tonieization and Modulation LE tiorios ro. xp tt 254 ‘The Tonicization of Diatonic Chords 255, "The Mediant Key in the Minor Mode 262 ‘The Dominant Keyin the Major Mode 255 Intramovement Tonal Schemes Using Embellshing Tonicizations 256 Dominant or Mediant Keys 264 Modulation 258 MODIILSTION IN MELODY Diffrent Methods of Changing Key 250 anMoNtxnios 267 ‘TERMS AND CONCEPTS FOR KEYiEN ” 268 excunsron 1 Simple Forms 269 One-Part Form 270 Variation Form 275, Binary or Two-Reprise Form 271 Gontinuous Variations 276 The Two-Reprse Form inthe Baroque Sectional Variations, or Theme Period 271 and Variations 279 ‘The Tco-Reprise Form inthe Classical Rondo Form 283 Period 279 Fice-Part Rondo 284 ‘Ternary Form 273 Seven-Part Rondo 288 ‘TERNS AND CONCEETS FOR REXTEW 288 cuaeren 20 Harmonic Sequences I: roet voveMFNT By 2xb AND aRD 289 Nonsequential Root Movement 290 Successive Root-Position Triads in Stepwise Sequential Root Movement 290 ela a Root Movement by 2nd: Successive Sixth Root Movement by 3rd 208 Chords 298 ‘TERMS AND CONCEPTS FOR REVIEW 30L cuaprrn 21 ‘The Leading-Tone Seventh Chord ‘The Leading-Tone Seventh Chord in the ‘The Leading-Tone Seventh Chord in the Minor Mode 303 Major Mode 308 The ot” 304 ‘The Use of Leading-Tone Seventh Chords The ot 904 in Tonic Prolongations 309 The vt 305 PARTWHITING PROCEDURES AND MELODY The ot 906 HARMONIZATION 312 TERMS AND CONCEVIS FOR REVIEW 313,CONTENTS cuapren 22 Harmonie Sequences TH: root wovesnnr ey sti ; ‘Triadic Root Movement by Descending 5th “The Elaboration of Sequences 323 315 ‘Unusual Treatment of Seventh Chords in ‘Triads in Descending Sth Sequences 316 Sequential Movement 325 ‘Triads in Ascending Sth Sequences 319 HARMONIC SEQUENCES IN MELODY Seventh Chords in Descending Sth HARMONIZATION 328 Sequences 320 ‘TERMS AND CONCEPTS FOR REVIEW 332 Other Diatonic Sequences 322 cuarrer 23 Analytical Comments on a Menuetto and Trio by Beethoven Langer Formal Considerations 383 Overall Voice Leading in the Menuetto Formal Characteristics of Beethoven's ad ol Menuetto and Trio 835 Motives and Phrase Groupings Motives and Phrase Groupings in the inthe Trio 34) Menuetto 335 Middloground Structure in the Trio 345 Hierarchical Levels of Tonal Structure and Unifying Factors in the Movement 345 Voice Leading 340 ‘TERMS AND CONCEPTS FOR Ri Hew 346 cuapren 24 Introduction to Chromatic Harmony 349 ‘The Historical Evolution of Nondiatonic Using Roman Numerals to Designate Tones 350 ‘Chromatic Harmonies 356 ‘Chromatic Melodic Motion 352 TERMS AXD CONCERTS FOR REVIEW. 357 Decorative vs. Structural Chromaticism 354 cuaptea 25 Tonicization and Modulation TH: secoxpary powayrs 358 ‘The Approach to Altered Notes in Surface Tonicizations of V and IV (iv) Secondary Dominants 359, in the Major and Minor Modes 361 Cross-Relations 360xiv conTENTs Surface Tonicizations of i, vi and ii in the Major Mode 965 ‘The Use of Secondary Dominants in ‘Harmonie Sequences 369 Surface Tonicizations of TH, VI, and VILin An Extended Use of Secondary the Minor Mode 367 Dominants S71 Deceptive Resolutions of Secondary MELODY HARMONIZATION 373. Dominants 368 TERMS AND CONCEFTS FOR REVIEW 374 cuspren zo Tonieization and Modulation DL: ancycrios to cLoseLy 375 RELATED KEYS Closely Related Keys 376 ‘The Process of Modulation 381 Relative Frequency of Closely Related Keys. Tonal Schemes within a Movement 383 377 MELODY HARMONIZATION 386 ‘The Extent of the Tonicized Area 378 TERMS AND CONCEPTS FOR REVIEW 385. cuserer 27 Modal Exchange and Mixture Chords 390 Modal Exchange 391 Mixture Chords within Plagel Gadences Mixture Chords 394 400 ‘Mixture Chords in the Major Mode 394 Mixture Chords in the Miner Mode 402 Thet Chord 308 ‘The III iad in Major 402 Theioand w”"Chorde 395 ‘Mixture Chords Notated Enharmonially 403 ‘TheWWI Chord 396 MELODY HARMONIZATION 406. he in oneal Corea TERMS AND CONCEPTS FOR REVIEW 407 cnaerer 28 The Neapolitan Chord 408 ‘The SI as a Cadential Predominant Chord Prolonged Neapolitan Harmony 417 409 ‘Tonicization of the Neapolitan Triad 418 ‘Thebtt® as an Embellshing Pre-dominant MELODY HAgMONIZATION 420 a TERMS AND CONCEPTS FOR REVIEW 421 Other Uses ofthe Neapolitan Chord 414 cuarrer 29 Augmented Sixth Chords 422 ‘Augmented Sisth Chords in the Minor Mode 425, Augmented Sixth Chords in the Major Mode 426 Doubly Augmented Fourth Chords 427 Diminished Third Chords 428 Other Inversions of Augmented Sixth Chords 429CONTENTS XV Secondary or Enharmonic Augmented Sixth More Exotic Chord Types Containing an Chords 430 Augmented Sixth 435, Tritone Substitution 433 Summary Analysis 436 Other Resolutions of Augmented Sixth MELODY HARMONIZATION 437 Choris 493 “TEAMS AND CONGEETS FOR REVIEW 435, excurston 2 More Complex Forms 439 Sonsta Form 499 Sonata-Rondo Form 447 Expostion 444 Modifications of Sonata Form 448 Development 444 Unique Formal Designs 448 Racapituletion 485 Contrapuntal Forms 449 Tonal Structure of Sonata Form 445 GhrtlePrénde 440 Introduction 446 ae Code 447 een ome ra ‘TERMS AND CONCEPTS FOR REVIEW 459 cuapren x0 Implication and Realization 400 ‘Music as Communication 461 Surprise and Ambiguity 475 Referentialsm ys. Absolutism 461 Application to Musical Analysis 476 Emotion in Music 462 ‘TORS ASD GONCEITS FOR NENIEW 476 Implication and Realization 462 cospren at Ninth. Eleventh, Thirteenth. and Added-Note Chords Fits Dominant Ninth Chords 478 Added Notes: 6ths and 9ths 485 Nondominant Ninth Chords 482 ‘TERMS AND CONCEPTS FOR REVIEW 487 Eleventh and Thirteenth Chords 482 coapres 2 Embellishing Chromatic Chords 488 Augmented Triads as Passing or Embellishing or Common-Tone Diminished Neighboring Chords 459 Seventh Chords 495 Altered V' Chords 492 ‘Common-Tone Augmented Sixth Chords 497xvi CONTENTS “The Use of Chromaticism to Create Modal 1\HTWRITING FHOCEDERES AND MELODY Ambiguity 500 TARMONTZATION 504 ‘Unusual Linear Chords 501 TERMS AND CONCEPTS FOR REVIEW 505 ‘Additional Chromatic Chords in the Major ‘and Minor Modes 502 cuaprer sa Dominant Prolongation 506 Short-Term Chromatic Prolongations of V)_Prolongation ofthe Cadential § Formula 507 510 ‘Dominant Prolongation in Introductory Dominant Prolongation as Climactic Passages 508, Preparation 512 Prolongation of the Dominant in TERMS AND CONCEPTS POR REVIEW S14 Retransition Passages 509 ciate a4 Modulation to Foreign Keys L 515 ‘Change-of Mode Modulation 516 Moddulations to Foreign Keys in the Minor Modulations to Foreign Keys in the Major Mode 527 Mode 520 Foreign Key Relations in Development Srd-Related Modulations by Common Tone Sections 528 sal MELODY HARMONIZATION 5 Modulations to Foreign Keys by Pivot TERMS AND CONCERTS FoR RENE 330 Chord 524 craves a5 Harmonie Sequences Hl: curowyne b,snonvniossor 531 DINTOME SEQUENCES ‘The Role of Diatonic Tetrachords in Descondling Chromatic -6 Sequences 538 Chromatic Sequences 532 ‘Sth-Related Chromatic Sequences 540 Chromatic Elaborations of Diatonic Extended Use of Chromatic 5-6 Sequences Sequences 534 sal Descending Chromatic Sequences 504 Ascending Chromatie 5-6 Sequences 596 TERMS AND CONCHETS FOR REVIEN 544 cuseren se Analytical Comments on Wagner's Tristan Prelude 545GONTENTS xvii part Four ADVANCED CHROMATIC TECHNIQUES cuapter st Chromatic Voice Leading 501 Sequences Based on Half-Step Root Extended Use of Nonsequential Movement 562, Chromaticism 572 Strict Chromatic Parallelism 563 TRRMS AND CONCEPTS FON REVIEW 574 Chromaticism by Contrary Motion 566, Nonsequential Chromatic Passages 570 cuarren si Modulation to Foreign Keys I Enharmonic Modulation 575 Modulation by Chromatic Linear Chromatic Alterations of Diminished Progression 584 Seventh Chords 582 ‘An Unusual Case of Successive Foreign, Modilation by Strict Harmonie Sequence Modulations 586 383, TERMS AND CONCEPTS FOR RENIEW 585 Civeren a9 Symmetrical Divisions of the Octave 589 Symmetrical Root Movements 591 ‘The Omnibus Sequence 599 Foot Mocement by Major nd 502 ‘Tonal Schemes Using Symmetrical Root Mocement by Minor rd 503 Divisions of the Octave 602 oot Movement by Major rd 595 oot Movement by Tritone 587 Extended Root Movement by Pesfect Sth TERMS AND CONCEPTS FOR REVIEW 604 597 cuarrien a0 Atthe Limits of Tonality: nenc’s rocn soves. ov 2 605 TERMS AND CONCERTS FoR neviEW 620 vpeexpix 1 Some Fundamentals of Acoustics 621 Frequency and Pitch 621 Vibration Form and Timbre 623 Intensity and Loudness 623 Duration 625xviii CONTENTS sppesoiy 2 ‘The Diatonie Modes and Other Seales 627 The Church Modes 627 Gypsy Minor Seale 631 Other Seales 630 Whole-tone Scale 632 Pentatonte Seale 630 Octatone Seale 658 \prexpiy An Introduction to Species Counterpoint 634 Melodic Characteristics 635 Fourth Species 642 First Species 636 Fifth Species 613 Second Species 639 Underlying Species Technique in Third Species 640 Two-Voice Passages 645 vppexpix + Chord Symbols for Jazz and Commercial Music 646 ‘Triads 646 ‘Ninth and Eleventh Chords 648 Seventh Chords 647 Added-Note Chords 649 appenbix 5 Conducting Patterns 650 Duple Meter 650 ‘Quintuple Meter 652 ‘Tipe Meter 651 Sextuple Meter: Divided Beat 653 Quadruple Meter 651 Complex Meters 653 Single Meter 652 GLOSSARY 654 INDEX OF MUSIC EXAMPLES 658, ACKNOWLEDGMENTS 665 INDEX 666