The Study of Harmony An Historical Perspective By Diether de la Motte Translated from the Original German by Jeffrey L. PraterTABLE OF CONTENTS About this Book , the Author, and Translator. Author's Preface. seesnaessss Author's Preface to the Fourth German ‘Edition. Translator's Foreword CHAPTER ONE: Harmony ca. 1600 (Lasso-Palestrina-Lechner-Cavalieri) ... CHAPTER TWO: Harmony between 1700 and 1750 (Bach-Handel-Vivaldi-Telemann) 1.The Perfect Fifth Relationship in Major Keys 2. First Inversion Triads 3.Six-Four Sonorities.. 4, Characteristic Dissonances 5.Non-Harmonic Tones .. 6. The Minor Mode .. ‘7. Augmented Triads and the Neapolitan Sixth .. 8, The 9-8 Suspensions Applied to the Dominant-Seven and Leading-Tone Diminished Seventh Chords .. 9.Secondary Triads 10, Secondary Triads in Major Keys 11. Secondary Triads in Minor Keys 12. Descending-Fifth Sequences in Major and Minor Keys 13. Expansion of Tonal Space . 14. Secondary Dominants and Secondary S 15. The Diminished Seventh Chord as a Secondary Dominant . 16. Chords Borrowed from the Minor Mode... CHAPTER THREE: Harmony between 1770 and 1810 (Haydn-Mozart-Beethoven) Introduction The Form-Generating Role of Harmonic Progressions .. The Leading-Tone Seventh Chord in Major... Modulation... 187 Modulation e 189 Modulation within the. Development Section Altered Chords... The Harmony of Slow Introduetion Sections SIO TP wy CHAPTER FOUR: Harmony between 1800 and 1828 (Beethoven-Schubert) 1. Triads Related by the Interval of a Third . 2. Leading-Tone Relationships .. 3. Note-for-Note Transformation .CHAPTER FIVE: Harmony between 1830 and 1850 (Schumann) 1. Introduction .... 2. Non-Functional Dominant-Seventh Chord Progressions 3. Thirds Added Below Triads and Seventh Chords .. 4. Dominant Ninth Chords ...... 5. Abridged Dominant Ninth Chords 44 6. Freedom from the Tonic... CHAPTER SIX: Harmony in Opera (1600 - 1900) 1. The Wide Paintbrush 2. Stable and Unstable Harmony in Arias and Scenes 3. The Downward-Resolving Leading-Tone in Italian Music . Impending Danger . Resolution of Conflict, . Dramatic Climax . Large-Form Disposition o nage ‘onality . CHAPTER SEVEN: Harmony between 1857 and 1882 (Wagner) . Introduction . Cadences in Atonal Space . Setting the Text to Music. . Wagner’s Functionally Free Four-Tone Sonoritie: . The Tristan Chord... — . Expressive Suspension Figures in Wagner's Late Works . A Model for Analysis of Passages in Wagner's Late Works CHAPTER EIGHT: Harmony between 1839 and 1885 (Liszt) 1, Introduction 2. Tonality as Reminiscence 8. The End of Tonal Harmony 4, Two Pathways to Atonality CHAPTER NINE: Harmony between 1900 and 1918 (Debussy) 1. Sléndro and Whole-Tone Scale: 2. Harmonic Texture in the Music of Debussy. 3. Mixture-like Sonorities in the Music of Debussy 4. Harmony and Compositional Structure as a Unity of Invention .. CHAPTER TEN: Selected Topics in Harmony (after 1912) 1, Atonal Harmony (Scriabin, Schonberg) 2. Sonority and Structure (Webern) .. 3. Classification of Harmony (Hindemith) 4. Sonority as Theme (Messiaen) 5. Discussion of Selected Twentieth-Ce1 Table of Functional Symbols. Index .. Nop eye vi