EDITION

IV

Harmony
&
Voice Leading

Edward Aldwell
The Curtis Institute of Music
Mannes College of Music

Carl Schachter
Mannes College of Music
The Juilliard School

Allen Cadwallader
Oberlin Conservatory of Music

Australia Brazil Japan Korea Mexico Singapore Spain United Kingdom United States

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89756_00_FM_i-xvi.indd i 2/12/10 6:58:35 AM

 Harmony & Voice Leading, Fourth Edition
Edward Aldwell, Carl Schachter,
and Allen Cadwallader
Publisher: Clark G. Baxter
Assistant Editor: Nell Pepper
Editorial Assistant: Ashley Bargende
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Text Designer: Glenna Collett
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Cover Image: The Art Archive/Bach House
Leipzig/Alfredo Dagli Orti. From the
autograph score of the Invention in F major
by J. S. Bach
Printed in the United States of America
1 2 3 4 5 6 7 14 13 12 11 10
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89756_00_FM_i-xvi.indd ii
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 In Memoriam Edward Aldwell
(January 30, 1938May 28, 2006)

Edward Aldwells untimely death occurred during the planning stages for this
Fourth Edition but before actual work had begun. Nevertheless, his ideas about
music and its teaching are evident on every page of this new edition. Edward was
a complete musician. He was primarily a pianist, and a wonderful one. He was
best known as an interpreter of Bach, and indeed he performed most of Bachs
keyboard music and recorded it extensively. But he was also a marvelous player
of Mozart, Beethoven, Schubert, Chopin, Brahms, Faur, Hindemith, and oth-
ers. His interest in theory and analysis developed out of a desire to hear and
understand music better so that he, and those he taught, would learn to perform
better. He had little (if indeed any) interest in theoretical speculation for its own
sake, but he was convinced that a comprehensive grounding in counterpoint,
thoroughbass, and related disciplines would lead to more insightfuland even
to more technically secureperformances. Edward was a great teacher both of
theory and piano; he was also an outstanding chamber-music coach. His perfor-
mance students benefited from his analytical insights, and his theory students
benefited from his ability to derive implications for performance from theoretical
observationsand from the way he translated these implications into sound in
his beautiful demonstrations at the piano. My work with Edward on Harmony &
Voice Leading was a genuine and close collaboration; whatever might be good in
the book is due equally to both of us. Our friendship lasted more than forty years,
and his death is a grievous loss to me and to the countless students and colleagues
who gained so much from his artistry and wisdom.
Carl Schachter

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 Contents

Preface to the Fourth Edition xi

Preface to the Third Edition xiii

PART I The Primary Materials and Procedures 1

1 Key, Scales, and Modes 3

Tonal Relationships; Major Keys 4
Minor Keys; Modes; Tonality 14

2 Intervals 21
Recognizing and Constructing Intervals 21
The Overtone Series 24
Consonance and Dissonance 26
Intervals in a Key 30

3 Rhythm and Meter 35

Rhythmic Organization 35
Rhythm and Dissonance Treatment 43

4 Triads and Seventh Chords 46

Triads 47
Seventh Chords 56
Texture and Structure 59

5 Introduction to Counterpoint 61
Species Counterpoint 62
Cantus Firmus 64
First Species 65
Second Species 69
Third Species 74
Fourth Species 78
Fifth Species 85
Exercises 91

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

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 vi Contents

6 Procedures of Four-Part Writing 93

Chord Construction 93
Counterpoint in Chorale Textures: Voice Leading 103
Points for Review 110
Exercises 111

PART II I-V-I and Its Elaborations 113

7 I, V, and V 7 115
Tonic and Dominant 116
I-V-I in Four Parts 118
The Dominant Seventh 122
Points for Review 128
Exercises 129

8 I6, V 6, and VII6 131

I6 and V6 132
VII6 (Leading-Tone Triad) 138
Points for Review 142
Exercises 143

9 Inversions of V 7 147
V 65 , V 43 , and V 42
147
Contrapuntal Expansions of Tonic and Dominant 154
Points for Review 159
Exercises 159

10 Leading to V: IV, II, and II6 161

Intermediate Harmonies 162
IV and II in Contrapuntal Progressions 169
Expansions of II and IV 172
Harmonic Syntax; Rhythmic Implications 175
Points for Review 178
Exercises 179

11 The Cadential 64 181

An Intensification of V 181
Points for Review 191
Exercises 191

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 Contents vii

12 VI and IV 6 194
Uses of VI 195
Uses of IV 6 200
Points for Review 205
Exercises 205

13 Supertonic and Subdominant Seventh Chords 208

Supertonic Seventh Chords 209
Subdominant Seventh Chords 221
Points for Review 224
Exercises 225

14 Other Uses of IV, IV 6, and VI 229

IV and IV 6 230
VI 236
Summary of Cadences 242
Points for Review 243
Exercises 243

15 V as a Key Area 245

Tonicization and Modulation 246
Applications to Written Work 260
Points for Review 263
Exercises 263

16 III and VII 265

Uses of III 266
Uses of VII 275
Points for Review 280
Exercises 280

PART III 5 , 6 , and 6 Techniques 283

3 3 4

17 5 -Chord Techniques
3 285
Progressions by 5ths and 3rds 285
Contrapuntal Chord Functions 290
V as a Minor Triad 296
Points for Review 299
Exercises 299

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89756_00_FM_i-xvi.indd vii 2/12/10 6:58:39 AM

 viii Contents

18 Diatonic Sequences 301

Compositional Functions 302
Sequences with Descending 5ths 306
Sequences with Ascending 5ths 310
Sequences Using the Ascending 5-6 Technique 312
Sequences Using the Descending 5-6 Technique (Falling in 3rds) 316
Less Frequent Sequential Patterns 319
Sequences Moving to Tonicized V 321
Sequences in Minor 323
Points for Review 326
Exercises 328

19 6 -Chord Techniques
3 330
6 Chords in Parallel Motion 331
3
Other Uses of 63 Chords 337
Points for Review 343
Exercises 343

20 6 -Chord Techniques
4 346
Dissonant 64 Chords 348
Special Treatment of Cadential 64 Chords 356
Consonant 64 Chords 361
Some Special Cases 363
Points for Review 365
Exercises 365

PART IV Elements of Figuration 369

21 Melodic Figuration 371

Chordal Skips (Arpeggios) 373
Passing and Neighboring Tones 376
Points for Review 388
Exercises 388

22 Rhythmic Figuration 392

Suspensions 392
Anticipations 410
The Pedal Point 414
Points for Review 416
Exercises 417

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 Contents ix

PART V Dissonance and Chromaticism I 419

23 Leading-Tone Seventh Chords 421

The Diminished Seventh Chord 422
The Half-Diminished Seventh Chord 429
Points for Review 432
Exercises 433

24 Mixture 435
Combining Modes 436
Points for Review 447
Exercises 447

25 Remaining Uses of Seventh Chords 449

Seventh Chords in Sequence 450
Expanded Treatment of Seventh Chords 456
Apparent Seventh Chords 460
Points for Review 465
Exercises 465

26 Applied V and VII 467

Applied Chords 468
Chords Applied to V 472
Other Applied Chords 477
Applied Chords in Sequence 483
Points for Review 492
Exercises 492

27 Diatonic Modulation 494

Modulatory Techniques 495
Modulation, Large-Scale Motion, and Form 501
Points for Review 509
Exercises 509

PART VI Dissonance and Chromaticism II 515

28 Seventh Chords with Added Dissonance 517

Ninths 517
Elevenths and Thirteenths 528
Points for Review 533
Exercises 533

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 x Contents

29 The Phrygian II (Neapolitan) 536

A Chord Leading to V 537
Other Uses of II 549
Chromatic Notation 552
Points for Review 556
Exercises 556

30 Augmented Sixth Chords 559

A Chromatic Preparation for V 560
Approaching Augmented Sixth Chords 565
Details of Voice Leading 572
Augmented Sixths and Modulation 575
Inversions of Augmented Sixth Chords 577
Motion to Applied Dominants and Nondominant Chords 580
German Sixth and Dominant Seventh 583
Points for Review 585
Exercises 586

31 Other Chromatic Chords 589

Advanced Uses of Mixture 590
Augmented Triads 596
Altered Dominant Seventh Chords 601
Common-Tone Diminished Seventh Chords 602
Other Chromatic Embellishing Chords 606
Points for Review 607
Exercises 608

32 Chromatic Voice-Leading Techniques 610

Chromaticism Based on Parallel Motion 611
Chromaticism Based on Contrary Motion 623
Equal Divisions of the Octave 631
Points for Review 641
Exercises 642

33 Chromaticism in Larger Contexts 645

New Modulatory Techniques 646
Chromatic Tonal Areas 655
Points for Review 666
Exercises 667

Appendix I Keyboard Progressions 670

Appendix II Score Reduction 692
Appendix III Roman Numerals and Registers; Explanatory Tables and Charts 696

Index of Musical Examples 709

Subject Index 712

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