Harmony / Walter Piston. 6
By: Piston, Walter, 4 0 16 [, ] | [, ] |
Contributor(s): 5 6 [] |
Language: Unknown language code Summary language: Unknown language code Original language: Unknown language code Series: ; New York : W.W. Norton, [1978];copyright 197846Edition: Fourth edition / revised and expanded by Mark DevotoDescription: 24 cm. xix, 594 p. : musicContent type: text Media type: unmediated;unmediated Carrier type: volumeISBN: 0393090345;9780393090345ISSN: 2Other title: 6 []Uniform titles: | | Subject(s): -- 2 -- 0 -- -- | -- 2 -- 0 -- 6 -- | 2 0 -- | -- -- 20 -- | | -- -- Harmony. -- -- 20 -- | -- -- -- 20 -- --Genre/Form: -- 2 -- Additional physical formats: DDC classification: | LOC classification: | MT50 | .P665 19782Other classification:| Item type | Current location | Home library | Collection | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|---|
| Book | PLM | PLM Circulation Section | Circulation-Circulating | MT50 P57 1978 (Browse shelf) | Available | C37317 |
Includes indexes. 56
Scales and intervals -- Triads -- Harmonic progression in the major mode : rules of voice leading -- The minor mode -- Tonality and modality -- The first inversion -- the figured bass -- Function and structure of melody -- Nonharmonic tones -- The harmonic structure of the phrase -- Harmonization of a given part -- The six-four chord -- Cadences -- Harmonic rhythm -- Modulation -- The dominant seventh chord -- Secondary dominants -- Irregular resolutions -- Problems in harmonic analysis -- The sequence -- The diminished seventh chord -- The incomplete major ninth -- The complete dominant ninth -- Nondominant harmony -- seventh chords -- Ninth, eleventh, and thirteenth chords -- Chromatically altered chords : the raised supertonic and submediant -- The Neapolitan sixth -- Augmented sixth chords -- Other chromatic chords -- Harmonic practice historically considered -- Extensions of common practice -- Scalar and chordal types -- Extended chromaticism.
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Piston's Harmony teaches by demonstrating snapshots of particular harmonic practices from more or less standard classical pieces. These illustrations are then combined with variations on figured bass or melody harmonization exercises.
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