The Practice of Harmony 7th Edition by Peter Spencer, Barbara Bennett – Ebook PDF Instant Download/Delivery: 0133785394, 9780133785395
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ISBN 10: 0133785394
ISBN 13: 9780133785395
Author: Peter Spencer, Barbara Bennett
This is the eBook of the printed book and may not include any media, website access codes, or print supplements that may come packaged with the bound book. For courses in Music Theory A text/workbook combination that gives students the tools to understand harmonic structures With an emphasis on learning by doing, The Practice of Harmony, Seventh Edition takes students from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. Its approach is “additive” — enabling students to use what was learned in one chapter to understand material in the next — to minimize rote memorization, since students repeatedly use the concepts throughout the semester. The text begins with an overview of music fundamentals; the middle addresses the use of harmony in common practice; and the concluding section offers a basic glimpse of the harmonic practices of the 20th century. The authors intentionally avoid elaborate descriptions of their conceptual framework and refrain from specifying instructional methods, thereby allowing instructors a wide spectrum of teaching approaches in the classroom. NOTE: This ISBN is for a Pearson Books a la Carte edition: a convenient, three-hole-punched, loose-leaf text. In addition to the flexibility offered by this format, Books a la Carte editions offer students great value, as they cost significantly less than a bound textbook
The Practice of Harmony 7th Table of contents:
Part One Foundations
Chapter 1 Clefs and Basic Pitch Notation*
Suggestions and Strategies
Exercises
Chapter 2 Scales
2.1 The Major Scale
2.2 The Minor Scale
2.3 Naming Scales
2.4 Scales in Descent
2.5 The Synthetic Minor Scale
2.6 Modes
Suggestions and Strategies
Exercises
Chapter 3 Key Signatures and Scale Degrees
Suggestions and Strategies
Exercises
Chapter 4 Intervals
4.1 The Quality of Intervals
4.2 The Inversion of Intervals
4.3 Compound Intervals
Suggestions and Strategies
Preliminary Exercises
Exercises
Chapter 5 Triads
5.1 Types of Triads
5.2 Triads in Major and Minor Keys
Suggestions and Strategies
Exercises
Chapter 6 The Notation of Rhythm
6.1 Note Values
6.2 Meter Signatures
6.3 Principles of Notation
6.3.1 Flags and Beams
6.3.2 Dots and Ties
6.3.3 Borrowed Divisions
6.3.4 Augmentation and Diminution
6.3.5 Rests
Suggestions and Strategies
Preliminary Exercises
Exercises
Part Two Harmony in Common Practice: The Diatonic Vocabulary
Chapter 7 Four-Part Vocal Writing
Chapter 8 Primary Triads in Root Position
8.1 Cadences
8.2 Roots a Fourth and Fifth Apart
8.3 Roots a Second Apart
8.4 Restrictions in Voice Leading
8.5 Primary Triads in Combination
8.6 The Function of Primary Triads
Suggestions and Strategies
Exercises
Chapter 9 Primary Triads in First Inversion
9.1 Chord Symbolization: Figured Bass
9.2 Primary Triads in First Inversion
Suggestions and Strategies
Exercises
Chapter 10 Primary Triads in Second Inversion
10.1 The Cadential 64 Chord
10.2 The Passing 64Chord
10.3 The Auxiliary 64Chord
Suggestions and Strategies
Exercises
Chapter 11 Secondary Triads
11.1 Chord Relationships
11.2 The Sixth and Seventh Scale Degrees in Minor Keys
Suggestions and Strategies
Preliminary Exercise
Exercises
Chapter 12 The Harmonization of Melodies I
Suggestions and Strategies
Exercises
Chapter 13 Nonchord Tones I Passing Tones, Neighboring Tones, Changing Tones, Appoggiaturas, Escape Tones, Anticipations
13.1 The Passing Tone
13.2 The Neighboring Tone
13.3 Changing Tones
13.4 The Appoggiatura
13.5 The Escape Tone
13.6 The Anticipation
Suggestions and Strategies
Exercises
Chapter 14 Nonchord Tones II Suspensions and Pedal Points
14.1 Suspensions
14.2 Pedal Point
14.3 The Tonic Pedal
14.4 The Dominant Pedal
Exercises
Chapter 15 Diatonic Seventh Chords
15.1 Figured Bass Symbols for Seventh Chords
15.2 The Seventh Chord in Four-Part Writing
15.3 The Function of Diatonic Seventh Chords
Suggestions and Strategies
Exercises
Chapter 16 The Harmonization of Melodies II
16.1 Passing Tone Patterns [P]
16.2 Neighboring Tone Patterns [N]
16.3 Suspension Patterns [SuS]
16.4 Appoggiatura Patterns [Ap]
16.5 Escape Tone Patterns [ET]
16.6 Anticipation Patterns [An]
Exercises
Chapter 17 Writing for the Piano
17.1 Four-Part Chordal Styles
Suggestions and Strategies
Exercises
17.2 The Piano Accompaniment
Exercises
Part Three Harmony in Common Practice: The Chromatic Vocabulary
Chapter 18 Secondary Dominants
18.1 The Function of Secondary Dominants
Suggestions and Strategies
Preparation
Part Writing
Preparation
Part Writing
Preparation
Secondary Dominants Preliminary Exercise
Exercises
18.2 Deceptive Resolutions of Secondary Dominants
Exercises
Chapter 19 Secondary Diminished Seventh Chords
19.1 The Function of Secondary Diminished Seventh Chords
Suggestions and Strategies
Preparation
Part Writing
Preparation
Part Writing
Preliminary Exercise
Exercises
19.2 Irregular Resolutions of Diminished Seventh Chords
Exercises
Chapter 20 Augmented Sixth Chords
20.1 The Function of Augmented Sixth Chords
Suggestions and Strategies
Resolution:
Preliminary Exercise
Exercises
20.2 Other Uses of Augmented Sixth Chords
Exercises
Chapter 21 Borrowed Chords
Exercises
Chapter 22 The Neapolitan
22.1 The Neapolitan Sixth Chord
22.2 The Function of the Neapolitan Sixth
22.3 The Neapolitan in Root Position
Suggestions and Strategies
Preliminary Exercise
Exercises
Chapter 23 Common Chord Modulation
Suggestions and Strategies
Preliminary Exercises
Exercises
Chapter 24 Abrupt and Enharmonic Modulation
24.1 Abrupt Modulation
24.2 Enharmonic Modulation
Exercises
Part Four Post–Common Practice Harmony
Chapter 25 Ninth, Eleventh, and Thirteenth Chords
25.1 Ninth Chords
25.2 Perfect Eleventh Chords
25.3 Augmented Eleventh Chords
25.4 Thirteenth Chords
25.5 Ninth, Eleventh, and Thirteenth Chords in Combination
Exercises
Exercises for Harmonic Analysis
Chapter 26 Chord Symbols
26.1 Tritone Substitution
Exercises
Chapter 27 Modal Harmony
27.1 Modes
27.2 The Pentatonic Scale
Suggestions and Strategies
Harmony
Melody
Exercises
Music for Analysis
Chapter 28 Nonfunctional Harmony
28.1 Root Movements Based on the Chromatic Scale
28.2 Parallelism
28.3 Chords of Addition
28.4 Polychords
28.5 Bitonality
28.6 Pandiatonicism
Exercises
Music for Analysis
Chapter 29 Artificial Scales
29.1 The Whole Tone Scale
29.2 The Octatonic (or Diminished) Scale
Exercises
Music for Analysis
Chapter 30 Nontertian Harmony
30.1 Nontertian Projections
30.2 Freely Formed Harmonic Structures
Suggestions and Strategies
Exercises
Music for Harmonic Analysis
Chapter 31 Harmonic Procedures in Twelve-Tone Serialism
31.1 Introduction
31.2 The Construction of the Basic Set
31.3 The Harmonic Basis
Exercises
Music for Analysis
Appendix A
Chapters 7–24 Possible Answers for Selected Exercises
Chapter 7—Four Part Vocal Writing—Preliminary Exercise
Chapter 7—Four Part Vocal Writing—Exercise A
Chapter 8—Primary Triads in Root Position—Exercise A
Chapter 8—Primary Triads in Root Position—Exercise G
Chapter 9—Primary Triads in First Inversion—Exercise A
Chapter 9—Primary Triads in First Inversion—Exercise G
Chapter 10—Primary Triads in Second Inversion—Exercises A and B
Chapter 10— Primary Triads in Second Inversion—Exercise H
Chapter 10— Primary Triads in Second Inversion—Exercise I
Chapter 11—Secondary Triads—Preliminary Exercise
Chapter 11—Secondary Triads—Exercise G3
Chapter 12—The Harmonization of Melodies I—Exercise A
Chapter 13—Nonchord Tones I—Exercise F4
Chapter 14—Nonchord Tones II—Exercise C2
Chapter 15—Diatonic Seventh Chords—Exercise A
Chapter 15—Diatonic Seventh Chords—Exercise H3
Chapter 16—The Harmonization of Melodies II—Exercise B2
Chapter 18—Secondary Dominants—Preliminary Exercise
Chapter 18—Secondary Dominants—Exercise C1 and 2
Chapter 19—Secondary Diminished Seventh Chords—Preliminary Exercise
Chapter 19—Secondary Diminished Seventh Chords—Exercise A
Chapter 20—Augmented Sixth—Preliminary Exercise
Chapter 20—Augmented Sixth—Exercise G1
Chapter 21—Borrowed Chords—Exercise A
Chapter 22—The Neapolitan—Preliminary Exercise
Chapter 23—Common Chord Modulation—Exercise B
Chapter 24—Abrupt and Enharmonic Modulation—Exercise B
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Tags: Peter Spencer, Barbara Bennett, The Practice