Tekijä Piston, Walter, kirjoittaja.
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Sisältö 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 ; 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 -- 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.
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ISBN
*00007014cam a22003374i 4500
*00122988
*00520181231102440.0
*008010821t19871987xxug||| |||| 00|\0|eng c
*020 $a978-0-393-95480-7$qsidottu
*035 $a224593
*035 $a(conv)224593
*0410 $aeng
*084 $a78.2$2ykl
*084 $a78.23$2ykl
*084 $aB51$2z
*1001 $aPiston, Walter,$ekirjoittaja.
*24510$aHarmony /$cWalter Piston.
*250 $aFifth edition.
*264 1$aNew York :$bNorton ,$c1987.$bW. W. Norton and Company,
*264 4$c©1987
*300 $a575 sivua
*336 $ateksti$btxt$2rdacontent
*337 $akäytettävissä ilman laitetta$bn$2rdamedia
*338 $anide$bnc$2rdacarrier
*5050 $aI. 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 ;
*5050 $a12. 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 ;
*5050 $a18. 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 ;
*5050 $a23. 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 --
*5050 $aII. 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 --
*5050 $aAfterword -- Appendix I. Acoustical basis of the scale : the harmonic series and equal temperament -- Appendix II. Special exercises based on Bach's choral harmonizations.
*650 7$amusiikinteoria$2yso/fin$0http://www.yso.fi/onto/yso/p2147
*650 7$asoinnutus$2yso/fin$0http://www.yso.fi/onto/yso/p12020
*650 7$asointuoppi$2yso/fin$0http://www.yso.fi/onto/yso/p12021
*7001 $aDeVoto, Mark,$etoimittaja.
*979 $a224593
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