Harmony and Voice Leading

Edward Aldwell received his bachelor's and master's degrees from The Juilliard School where he studied piano with Adele Marcus. He studied theory and analysis privately with Carl Schachter and later with Ernst Oster. He has been a member of the Techniques of Music department at Mannes since 1969 and a member of the piano department since 1973. He has taught theory at The Curtis Institute of Music since 1971 and is currently Chairperson of the theory department. He has given recitals and master classes throughout the United States as well as in Israel, England and Germany, many of them devoted to the works of Bach. Recordings include both books of THE WELL-TEMPERED CLAVIER, GOLDBERG VARIATIONS and FRENCH SUITES OF BACH, as well as works of Hindemith and Fauré. Carl Schachter has taught music theory and analysis at Mannes College since 1956. He has served as the Chair of the Techniques of Music Division, and he was Dean of the College from 1962 to 1966. In July 1996 he retired as Distinguished Professor of Music at Queens College and the CUNY Graduate School, where he had taught since 1971. Following his retirement from Queens College, he joined the faculty of The Juilliard School. He has lectured and taught in France, England, Italy, Germany, Austria, Spain, Finland, Estonia, Holland, Mexico, and Australia as well as the U.S. and Canada. Allen Cadwallader is Professor of Music Theory at Oberlin Conservatory of Music, where he teaches counterpoint, tonal harmony, and Schenkerian analysis. He is editor of TRENDS IN SCHENKERIAN RESEARCH, ESSAYS FROM THE THIRD INTERNATIONAL SCHENKER SYMPOSIUM, ESSAYS FROM THE FOURTH INTERNATIONAL SCHENKER SYMPOSIUM, VOL. 1, and coauthor of ANALYSIS OF TONAL MUSIC: A SCHENKERIAN APPROACH (Oxford University Press). He has published articles on Schenkerian theory in JOURNAL OF MUSIC THEORY, MUSIC ANALYSIS, and MUSIC THEORY SPECTRUM, and has given lectures and workshops on Schenker’s work in England, France, Germany, and the United States.

• Part I: THE PRIMARY MATERIALS AND PROCEDURES.1. Key, Scales, and Modes.2. Intervals.3. Rhythm and Meter.4. Triads and Seventh Chords.5. Introduction to Counterpoint.6. Procedures of Four-Part Writing.Part II: I-V-I AND ITS ELABORATIONS.7. I, V, and V7.8. I6, V6, vii6.9. Inversions of V7.10. Leading to V: IV, ii, and ii6.11. The Cadential 6/4.12. vi and IV6.13. Supertonic and Subdominant Seventh Chords.14. Other Uses of IV, IV6, and vi.15. V as a Key Area.16. III and VII.Part III: 5/3, 6/3, AND 6/4 TECHNIQUES.17. 5/3-Chord Techniques.18. Diatonic Sequences.19. 6/3-Chord Techniques.20. 6/4-Chord Techniques.Part IV: ELEMENTS OF FIGURATION.21. Melodic Figuration.22. Rhythmic Figuration.Part V: DISSONANCE AND CHROMATICISM I.23. Leading-Tone Seventh Chords.24. Mixture.25. Remaining Uses of Seventh Chords.26. Applied V and VII.27. Diatonic Modulation.Part VI: DISSONANCE AND CHROMATICISM II.28. Seventh Chords with Added Dissonance.29. The Phrygian II (Neapolitan).30. Augmented Sixth Chords.31. Other Chromatic Chords.32. Chromatic Voice-Leading Techniques.33. Chromaticism in Larger Contexts.Appendix I: Keyboard Progressions.Appendix II: Score Reduction.Appendix III: Roman Numerals and Registers; Explanatory Tables and Charts.Index of Musical Examples.Subject Index.