Table Of ContentMiguel A. Roig-Francolí
College-Conservatory of Music
University of Cincinnati
Harmony
Context
h a r m o n y in
Second Edition
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Library of Congress Cataloging-in-Publication Data
Roig-Francolí, Miguel A., 1953–
Harmony in context / Miguel A. Roig-Francolí.—2nd ed.
p. cm.
ISBN-13: 978-0-07-313794-0 (hardcover : alk. paper)
ISBN-10: 0-07-313794-4 (hardcover : alk. paper) 1. Harmony—Textbooks. 2. Music theory—Textbooks.
I. Title.
MT50.R689 2011
781.2'5—dc22
2009050028
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(cid:2) Dedication
To my wife, Jennifer, and my sons,
Gabriel and Rafael.
And to the memory of my father.
“Tell me, and I may forget.
Show me, and I may remember.
Involve me, and I will learn.”
ANONYMOUS PEDAGOGUE
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About the Author
A native of Spain, Miguel A. Roig-Francolí holds graduate degrees in composition
from the Madrid Royal Superior Conservatory and Indiana University, and a Ph.D.
in music theory from Indiana University. He is currently a Professor of Music Theory
at the College-Conservatory of Music, University of Cincinnati, and has also taught
at Ithaca College, Northern Illinois University, Indiana University, and the Eastman
School of Music. His research interests include Renaissance compositional theory and
practice, the music of Ligeti, large-scale coherence in post-tonal music, and the peda-
gogy of music theory. Roig-Francolí is the author of U nderstanding Post-Tonal Music
and A nthology of Post-Tonal Music (McGraw-Hill, 2008), and his articles and reviews
have appeared in numerous journals and encyclopedias in the United States and Europe.
Roig-Francolí’s compositions have been widely performed in Spain (including per-
formances by nine major symphony orchestras and by the National Ballet of Spain),
England, Germany, Mexico, and the United States. He has received commissions from
the National Orchestra of Spain and the Orchestra of Spanish Radio-TV. Among his
many honors are first prize at the National Composition Competition of the Spanish
Jeunesses Musicales (1981), second prize at the UNESCO International Rostrum of
Composers (Paris, 1982), the Medal of Honor from the Superior Conservatory of Music
of the Balearic Islands (2004), and the University of Cincinnati’s A.B. “Dolly” Cohen
Award for Excellence in Teaching (2007) and George Rieveschl Award for Creative
and/or Scholarly Works (2009).
iv
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Contents
Preface x Chapter E The Rudiments of Harmony II:
A Message to the Student: Why Do We Study Labeling Chords; Musical Texture 68
Music Theory? xv
Harmonic Function, Roman Numerals 68
Acknowledgments xvi
Figured Bass 70
Musical Texture 73
Introduction: Chapter F Introduction to Species
(cid:2)
The Fundamentals of Music 1 Counterpoint 84
The Melodic Line in Species Counterpoint 85
Chapter A Pitch: Notation and General Guidelines for Two-Part
Intervals 2 Counterpoint 88
First Species (1:1) 88
The Notation of Pitch 2
Second Species (2:1) 91
Intervals 4
Third Species (4:1) 93
Consonant and Dissonant Intervals 14
Fourth Species (Syncopated) 95
Chapter B Rhythm and Meter 19
Durational Symbols 19
Pulse, Beat, and Meter 21 Part 1
(cid:2)
Tempo 22 Diatonic Harmony 105
Simple and Compound Meters 22
The Notation of Meter 23
Chapter 1 The Connection of Chords 106
Metric Accent 25
Harmonic Progression 106
Choosing a Meter to Notate a Melody 26
Notating, Voicing, and Spacing Chords 110
Asymmetrical Meters 27
Chord Connection: The Principles of
Irregular Divisions of the Beat 28
Part Writing 112
Irregular Rhythmic and Metric
Voice-Leading Guidelines for the Three Basic
Relationships 29
Types of Progression 118
Some Notes on the Correct Notation of
Melodic Style 120
Rhythm 32
Voice Independence 121
Why All These Rules? 123
Chapter C Tonality: Scales and Keys 38
Modes and Scales 39
Chapter 2 The Tonic and Dominant Triads
Key Signatures 42
in Root Position 129
Other Modes and Scales 46
The Tonic Triad 131
The Dominant Triad 131
Chapter D The Rudiments of Harmony I:
The I–V–I Progression 131
Triads and Seventh Chords 55
Characteristic Soprano-Bass Patterns 134
Chords 55 The I–V–I Progression as a Form-Generating
Triads 57 Structure 135
Seventh Chords 60 Pitch Patterns 140
v
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vi Contents
Chapter 3 Harmonic Function; The V in Root Position 227
7
Subdominant Triad in Root Position 145 Inversions of the Dominant Seventh 232
Characteristic Soprano-Bass Patterns 236
The Basic Harmonic Functions 145
Elaborating the I–V–I Progression 237
The Subdominant Triad 146
Pitch Patterns 241
Characteristic Soprano-Bass Patterns 149
A Model to Elaborate the Fundamental Progression 151
Chapter 9 The Leading-Tone Triad 248
Pitch Patterns 154
Doubling and Voice Leading 248
Chapter 4 Triads in First Inversion 159 The Passing vii° 249
6
The Triad in First Inversion: Uses and Function 159 vii°6 as a Dominant Substitute 251
The Neighbor V 162 The Leading-Tone Cadence 252
6
Characteristic Soprano-Bass Patterns 165 Characteristic Soprano-Bass Patterns 254
Elaborating the I–V–I Progression 166 Elaborating the I–V–I Progression 254
Pitch Patterns 168 Pitch Patterns 255
Chapter 5 The Supertonic; Melody Chapter 10 Cadences 260
Harmonization 174
Authentic Cadences 260
The Supertonic in Root Position 174 The Half Cadence 263
The Supertonic in First Inversion 176 The Plagal Cadence 264
Characteristic Soprano-Bass Patterns 178 The Deceptive Cadence 265
Elaborating the I–V–I Progression 179 Pitch Patterns 268
Harmonizing a Melody 179
Pitch Patterns 184 Chapter 11 Melodic Organization I:
Phrase Structure 274
Chapter 6 Nonchord Tones 188
Motive 274
The Passing Tone 189
Phrase 275
The Neighbor Note 192
Period Structure 277
The Anticipation 193
Form Diagrams 279
Incomplete Neighbors 193
More on Period Structure 280
Suspensions 197
Phrase Group 283
Pedal Point 203
Chapter 12 Melodic Organization II:
Chapter 7 6 Chords 210
4 Thematic Development; Phrase
Consonant 6 4 Chords: The Arpeggiated 6 4 210 Extension 290
Dissonant 6 Chords 212
4 Melodic Developmental Techniques 290
The Neighbor 6 212
4 Phrase Extension 298
The Passing 6 214
4
The Cadential 6 215
4 Chapter 13 Harmonic Rhythm; Metric
Characteristic Soprano-Bass Patterns 220
Reduction 308
Elaborating the I–V–I Progression 221
Pitch Patterns 222 Harmonic Rhythm 308
Metric Reduction 314
Chapter 8 The Dominant Seventh Compound Melody 318
and Its Inversions 227 Writing Your Own Progressions 320
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C ontents vii
Chapter 14 The Mediant, Submediant, and Chapter 18 Secondary Dominants II 420
Subtonic Triads 330
V of ii 420
7
The Mediant and Submediant Triads as V of vi (VI) 422
7
Prolongations of the Tonic 330 V of iii (III) 425
7
Other Uses of the Mediant and Submediant 334 V of VII 426
7
The Subtonic 338 Characteristic Soprano-Bass Patterns 428
Characteristic Soprano-Bass Patterns 340 Elaborating the I–V–I Progression 428
Elaborating the I–V–I Progression 342 Deceptive Resolutions of Secondary Dominants 429
Harmonizing a Melody with Keyboard Figuration 342 Sequences with Secondary Dominants 429
Pitch Patterns 348 Secondary Key Areas 435
Pitch Patterns 437
Chapter 15 Other Diatonic Seventh Chords 354
Chapter 19 Secondary Leading-Tone
General Doubling and Voice-Leading Guidelines 354
Chords 445
The Leading-Tone Sevenths 355
The Half-Diminished Seventh 356 Secondary Leading-Tone Seventh Chords 446
The Fully-Diminished Seventh 357 Secondary vii(cid:2) Chords in Inversion 451
7
The Supertonic Seventh 362 The vii(cid:2) Over a Pedal Point 454
7
The Subdominant Seventh 367 Elaborating the I–V–I Progression 455
Characteristic Soprano-Bass Patterns 370 A Chromatic Harmonization of a Diatonic Tune: Bach,
Elaborating the I–V–I Progression 370 Chorale 21 456
Pitch Patterns 372 Pitch Patterns 458
Chapter 16 Harmonic Sequences 378 Chapter 20 Modulation to Closely
Related Keys 465
The Descending Circle-of-5ths Sequence 380
The Ascending Circle-of-5ths Sequence 385 Key Relationships: Closely Related Keys 465
Sequences by Descending 3rds 386 Diatonic Pivot Chord Modulation 467
Sequences by Descending and Ascending Steps 388 Modulation to V 470
A Summary of Harmonic Sequences: Elaborating the Modulation to the Relative Major and Minor
I–V–I Progression 392 Keys 473
Pitch Patterns 393 Writing Pivot Chord Modulations 477
Chromatic Modulation: Chromatic Pivot Chords 478
Writing Chromatic Modulations 479
Modulation and Phrase Structure: Sequential and Phrase
Part 2
(cid:2) Modulation; Modulating Periods 481
Chromatic Harmony and Form 399 Harmonizing Modulating Melodies 485
Pitch Patterns 488
Chapter 17 Secondary Dominants I 400
Chapter 21 Small Forms: Binary and Ternary;
Chromatic Harmony 400
Variation Forms 498
Tonicization: Secondary Dominants 402
V of V 403 The Binary Principle 498
7
V of IV (iv) 407 Binary Tonal Types 499
7
Characteristic Soprano-Bass Patterns 410 Binary Formal Designs 501
Elaborating the I–V–I Progression 410 The Ternary Principle 507
Pitch Patterns 412 Variation Forms 511
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viii Contents
Continuous Variations 512 Modulation by Enharmonic Reinterpretation of
Sectional Variations 516 the Gr (cid:2)6 605
Writing Modulations with (cid:2)6 Chords 610
Chapter 22 Contrapuntal Genres 525 Modulation by Enharmonic Reinterpretation
of vii° 611
The Two-Voice Invention 525 7
Writing Modulations with vii° Chords 614
Bach: Invention no. 3, in DM 526 7
Pitch Patterns 615
The Fugue 529
Bach: Fugue no. 2 in Cm from The Well-Tempered
Clavier, I 532 Chapter 27 Modulation to Distantly Related
Some Additional Fugal Techniques 534 Keys II; Linear Chromaticism I 627
The Fugato 534
Chromatic Third Relationships 627
Triads Related by Chromatic Third 628
Chapter 23 Modal Mixture 541
Keys Related by Chromatic Third: Common-Tone
Borrowing Chords from the Minor Mode in a Major Modulation 630
Key 542
Linear Chromaticism I: Linear Chromatic
Borrowing Chords from the Major Mode in a Minor Chords 634
Key 549
Altered Triads 634
Change of Mode 550
Augmented Sixth Chords with Dominant and
Characteristic Soprano-Bass Patterns and Elaborations Embellishing Functions 636
of the I–V–I Progression 552
The Common-Tone Diminished Seventh
Pitch Patterns 553 Chord 641
Pitch Patterns 644
Chapter 24 The Neapolitan Chord 560
The Neapolitan Sixth 560
Chapter 28 Introduction to Large
Tonicization of the Neapolitan 565
Forms 651
The Neapolitan in Root Position 565
Tritone Substitution: The Neapolitan as a Sonata Form 651
Substitute for V 567 Mozart, Piano Sonata in CM, K. 309, I
7
Pitch Patterns 569 (Anthology, no. 25) 654
The Rondo 659
Chapter 25 Augmented Sixth Chords 574 A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob.
XVI:37, III (Anthology, no. 21) 660
General Features and Types of (cid:2)6 Chords 575
The Italian (cid:2)6 577
The German (cid:2)6 579 Chapter 29 Expanding Functional Tonality:
The French (cid:2)6 584 Extended Tertian Chords; Linear
Other Types of (cid:2)6 Chords 585 Chromaticism II 667
Summary 588 Expanding Chordal Sonorities: Extended Tertian
Tonal Relationship between the Neapolitan and Chords 667
the (cid:2)6 Chords 589 Linear Chromaticism II: Linear Expansions of
Pitch Patterns 590 Tonality 675
Appoggiatura Chords 675
Chapter 26 Chromatic Modulatory Techniques:
Chromatic Sequences Revisited 677
Modulation to Distantly Related Keys I 597
The Descending Circle-of-5ths Sequence 677
Chromatic Pivot Chords 597 Nonsequential Linear Processes 685
Writing Chromatic Pivot Chord Modulations 604 Pitch Patterns 689
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C ontents ix
Chapter 30 The German Romantic Lied: Parsimonious Voice Leading: The PLR Model 729
Chromatic Harmony in Context 698 Beyond the Confines of Functional Tonality 737
Pitch Patterns 740
The German Romantic Lied 698
Analysis 1: Schubert, Erlkönig 699
Analysis 2: Schumann, “Widmung” 705
Modulation by Enharmonic Reinterpretation of V(cid:2) 707 Appendix
Analysis 3: Wolf, “Das Verlassene Mägdlein” 708
Transposing Instruments 746
Pitch Patterns 712
Chapter 31 Toward (and Beyond) the Limits Musical Example Index 751
of Functional Tonality 717
Subject Index 761
Tonal Ambiguity and Implied Tonality 717
Equal Divisions of the Octave 724
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