Harmony in Context Miguel 3rd edition by Miguel Roig Francoli ISBN 1260153851 9781260153859

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ISBN 10:    1260153851
ISBN 13: 978-1260153859
Author:     Miguel Roig-Francoli 

Harmony in Context Miguel 3rd  Table of contents:

Part 1: Diatonic Harmony

Chapter 1: Harmonic Progression. The Connection of Chords

• Harmonic Progression
• Notating, Voicing, and Spacing Chords
• Chord Connection: The Principles of Part Writing
• Voice-Leading Guidelines for the Three Basic Types of Progression
• Melodic Style
• The Big Picture: Voice Independence

Chapter 2: The Fundamental Progression: The Tonic and Dominant Triads in Root Position

• The Tonic Triad
• The Dominant Triad
• The I–V–I Progression
• Characteristic Soprano-Bass Patterns
• The Big Picture: The I–V–I Progression as a Form-Generating Structure
• Procedure: Identifying Cadences and Phrases
• Pitch Patterns

Chapter 3: Harmonic Function; The Subdominant Triad in Root Position

• The Basic Harmonic Functions
• The Subdominant Triad
• Characteristic Soprano-Bass Patterns
• The Big Picture: A Model to Elaborate the Fundamental Progression
• Pitch Patterns

Chapter 4: Triads in First Inversion

• The Triad in First Inversion: Uses and Function
• The Neighbor V6
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 5: The Supertonic; Melody Harmonization

• The Supertonic in Root Position
• The Supertonic in First Inversion
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Procedure: Harmonizing a Melody
• Pitch Patterns

Chapter 6: Nonchord Tones

• The Passing Tone
• The Neighbor Note
• The Anticipation
• Incomplete Neighbors
• Suspensions
• Pedal Point

Chapter 7: 64 Chords

• Consonant 64 Chords: The Arpeggiated 64
• Dissonant 64 Chords
  • The Neighbor 64
  • The Passing 64
  • The Cadential 64
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating The I–V–I Progression
• Pitch Patterns

Chapter 8: The Dominant Seventh and Its Inversions

• V7 in Root Position
• Inversions of the Dominant Seventh
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 9: The Leading-Tone Triad

• Doubling and Voice Leading
• The Passing vii°6
• vii°6 as a Dominant Substitute
• The Leading-Tone Cadence
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 10: Cadences

• Authentic Cadences
• The Half Cadence
• The Plagal Cadence
• The Deceptive Cadence
• Pitch Patterns

Chapter 11: Building the Context for Harmony I: Phrase Structure

• Motive
• Phrase
• Period Structure
• The Big Picture: Form Diagrams
• More on Period Structure
• Phrase Group

Chapter 12: Building the Context for Harmony II: Thematic Development; Phrase Extension

• Melodic Developmental Techniques
• Phrase Extension

Chapter 13: Harmonic Rhythm; Metric Reduction

• Harmonic Rhythm
• The Big Picture: Metric Reduction: A Tool for Practice and Performance
• Compound Melody
• Procedure: Composing Your Own Progressions

Chapter 14: The Mediant, Submediant, and Subtonic Triads

• The Mediant and Submediant Triads as Prolongations of the Tonic
• Other Uses of the Mediant and Submediant
• The Subtonic
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Procedure: Composing a Keyboard Harmonization
• Pitch Patterns

Chapter 15: Other Diatonic Seventh Chords

• General Doubling and Voice-Leading Guidelines
• The Leading-Tone Sevenths
• The Half-Diminished Seventh
• The Fully Diminished Seventh
• The Supertonic Seventh
• The Subdominant Seventh
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 16: Harmonic Sequences

• The Descending Circle-of-5ths Sequence
• The Ascending Circle-of-5ths Sequence
• Sequences by Descending 3rds
• Sequences by Descending and Ascending Steps
• The Big Picture: A Summary of Harmonic Sequences: Elaborating the I–V–I Progression
• Pitch Patterns

Part 2: Chromatic Harmony and Form

Chapter 17: Tonicization I

• Chromatic Harmony
• Tonicization: Secondary Dominants
• Procedure: Spelling Secondary Dominants
  • V7 of V
  • V7 of IV (iv)
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 18: Tonicization II

• V7 of ii
• V7 of vi (VI)
• V7 of iii (III)
• V7 of vii
• Characteristic Soprano-Bass Patterns
• The Big Picture: Elaborating the I–V–I Progression
• Deceptive Resolutions of Secondary Dominants
• Sequences with Secondary Dominants
• Secondary Key Areas
• Pitch Patterns

Chapter 19: Tonicization III: Secondary Leading-Tone Chords

• Secondary Leading-Tone Seventh Chords
• Secondary vii°7 Chords in Inversion
• The Big Picture: Elaborating the I–V–I Progression
• Pitch Patterns

Chapter 20: Modulation to Closely Related Keys

• Key Relationships: Closely Related Keys
• Diatonic Pivot Chord Modulation
• Modulation to V
• Modulation to the Relative Major and Minor Keys
• Procedure: Writing Pivot Chord Modulations
• Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods
• Procedure: Harmonizing Modulating Melodies
• Pitch Patterns

Chapter 21: Small Forms: Binary and Ternary; Variation Forms

• The Binary Principle
• Binary Tonal Types
• Binary Formal Designs
• The Ternary Principle
• The Big Picture: Binary, Ternary, and Beyond
• Variation Forms
  • Continuous Variations
  • Sectional Variations

Chapter 22: Contrapuntal Genres: Invention and Fugue

• The Two-Voice Invention
  • Guided Analysis: Bach: Invention No. 3 in DM
• The Fugue
  • Guided Analysis: Bach: Fugue No. 2 in Cm from The Well-Tempered Clavier, I
• The Fugato

Chapter 23: Modal Mixture

• Borrowed Chords
  • Borrowing Chords from the Minor Mode in a Major Key
  • Borrowing Chords from the Major Mode in a Minor Key
  • Change of Mode
• The Big Picture: Characteristic Soprano-Bass Patterns and Elaborations of the I–V–I Progression
• Pitch Patterns

Chapter 24: The Neapolitan Chord

• The Neapolitan Sixth
• Tonicization of the Neapolitan
• Pitch Patterns

Chapter 25: Augmented Sixth Chords

• General Features and Types of +6 Chords
  • The Italian +6
  • The German +6
  • The French +6
• Other Types of +6 Chords
• Summary
• Pitch Patterns

Chapter 26: Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

• Chromatic Pivot Chords
• Procedure: Writing Chromatic Pivot Chord Modulations
• Modulation by Enharmonic Reinterpretation of the Gr +6
• Procedure: Writing Modulations with +6 Chords
• Modulation by Enharmonic Reinterpretation of vii°7
• Procedure: Writing Modulations with vii°7 Chords
• Pitch Patterns

Chapter 27: Modulation to Distantly Related Keys II; Linear Chromaticism I

• Chromatic-Third Relationships
  • Triads Related by Chromatic Third
  • Keys Related by Chromatic Third: Common-Tone Modulation
• Linear Chromaticism I: Linear Chromatic Chords
  • Altered Triads
  • Augmented Sixth Chords with Dominant and Embellishing Functions
  • The Common-Tone Diminished Seventh Chord
• Pitch Patterns

Chapter 28: Introduction to Large Forms

• Sonata Form
  • Analysis: Mozart, Piano Sonata in CM, K. 309, I
• The Rondo
  • Analysis: A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III

Chapter 29: Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II

• Expanding Chordal Sonorities: Extended Tertian Chords
• Linear Chromaticism II: Linear Expansions of Tonality
• Chromatic Sequences Revisited
• Pitch Patterns

Chapter 30: The German Romantic Lied: Chromatic Harmony in Context

• The German Romantic Lied
  • Analysis 1: Schubert, Erlkönig
  • Analysis 2: Schumann, “Widmung”
  • Modulation by Enharmonic Reinterpretation of V+
  • Analysis 3: Wolf, “Das Verlassene Magdlein”
• Pitch Patterns

Chapter 31: Toward (and Beyond) the Limits of Functional Tonality

• Tonal Ambiguity and Implied Tonality
  • Analysis: The Tristan Prelude
• Equal Divisions of the Octave
• Parsimonious Voice Leading: The PLR Model
• Beyond the Confines of Functional Tonality
• Pitch Patterns

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