Harmony

Heinrich Schenker

Harmony
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Heinrich Schenker

394 pages | 304 examples. | © 1954
Paper $37.50 ISBN: 9780226737348 Published October 1980
Harmony, Heinrich Schenker's first published work, originally appeared in German in 1906 as "New Musical Theories and Phantasies, by an Artist." Its unusual title indicates what was to be the rationale of Schenker's lifework, that artistic problems call for artistic solutions. Schenker's dedication to the formulation of a complete musical theory above the commonplace theoretical discussions was, in essence, his quest for a pattern in nature for music as art. Schenker's theory draws upon a profound understanding of the works of the masters and every proposition is illustrated by a living musical example.
Contents
PART I - THEORETICAL APPLICATION DIVISION
Tonal Systems: Their Origin and Differentiation with Regard to Position and Purity
SECTION I - The Origin of Tonal Systems
I THE NATURAL TONAL SYSTEM (MAJOR) (~~ 1-19)
II THE ARTIFICIAL TONAL SYSTEM (MINOR) (~~ 20-25)
III THE OTHER SYSTEMS (CHURCH MODES) (~~ 26-30)
SECTION - II
The Differentiation of the Tonal System with Regard
to Position and Purity
I TRANSPOSITIONS (~~ 3I-37)
II COMBINATIONS (~~ 38-52)
DIVISION - II
Theory of Intervals and Harmonies
SECTION - I
Theory of Intervals
I THE CONSTRUCTION OF INTERVALS(~~ 53-63)
II THE MEANING OF THE INTERVALS IN MODULATION (~~ 64-71)
III INVERSION OF INTERVALS (~ 72)
IV CLASSIFICATION OF INTERVALS (~~ 73-75)
SECTION - II
Theory of Scale-Steps
I SCALE-STEPS AND HARMONY (~~ 76-83)                       
II SCALE-STEP AND COUNTERPOINT (~~ 84-89)               
III CRITIQUE OF CURRENT METHODS OF TEACHING IN THE LIGHT OF OUR THEORY
OF THE SCALE-STEP (~~ 90-92)    
SECTION - III
Theory of Triads
I CLASSIFICATION OF TRIADS (~~ 93-96)                        
II THE MODULATORY MEANING OF TRIADS (~ 97)                
III INVERSION OF TRIADS (~ 98)                           
SECTION IV
Theory of Seventh-Chords
I NATURE OF THE SEVENTH-CHORD (~ 99)          
(CHAPTERS II-I, ~~ IOO-I06)
SECTION - V
The So-called Dominant Ninth-Chord and Other
Higher Chords
I THE SO-CALLED DOMINANT NINTH-CHORD (~~ 107-II)  
II THE REMAINING NINTH-CHORDS AND HIGHER CHORDS (~~ 112-14)   
PART II - PRACTICAL APPLICATION
DIVISION - I
Theory of the Motion and Succession of Scale-Steps
SECTION - I
On the Psychology of Contents and o9
Step Progression
I SCALE-STEPS AND CONTENTS (~~ II5-I7)                   
II ON DIFFERENT KINDS OF CONCLUSIONS (~~ II8-24)    
III VARIOUS KINDS OF STEP PROGRESSION (~~ I25-28) 
IV  ON FORM ON A LARGER SCALE (~~ I29-32)             
SECTION - II
On the Psychology of Chromatic Alteration
I SCALE-STEPS AND VALUATION THEORY (~~ I33-35)         
II THE PROCESS OF CHROMATIZATION (TONICALIZATION) (~~ 136-45) 
III ALTERATION AS A MODIFICATION OF TONICALIZATION (~~ 146-54) 
IV  RELATIONS BETWEEN CHROMATIC CHANGE AND DIATONIC SYSTEM (~~ I55-62)
SECTION - III
Some Corollaries of the Theory of Scale-Steps
in Free Composition
I ANTICIPATION (~~ 163-64)                                
II SUSPENSION (~~ I65-66)                           
III THE CHANGING NOTE (~~ 167-68)    
IV  THE PEDAL POINT (~~ 169-70)                   
DIVISION - II
Theory of the Progression of Keys
SECTION - I
Theory of Modulation
I MODULATION BY CHANGING THE MEANING OF A SCALE-STEP (~~ 171-76) 
II MODULATION BY CHROMATIC CHANGE (~~ 177-78)                 
III MODULATION BY ENHARMONIC CHANGE (~~ I79-80)               
SECTION - II
The Theory of Modulating and Preludizing (~~ I81-82)
I APPENDIX TO "HARMONY"                                       
II APPENDIX TO INTRODUCTION                                    
WORKS OF HEINRICH SCHENKER                                     
INDEX OF THE MUSIC EXAMPLES                                    
INDEX

                                            
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