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Books on the topic 'Choral harmony'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Copyright Paperback Collection (Library of Congress), ed. Sweet harmony. Uhrichsville, OH: Heartsong Presents, 2009.

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2

A, Leitschuh Carol, ed. In harmony with God: Choral prayer and preparation. Collegeville, Minn: Liturgical Press, 2008.

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3

Nielsen, Per Drud. I tusind tanker: Om harmonisering og korudsættelse af viser og sange. Tåstrup: Edition Egtved, 1998.

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4

Semeni︠u︡k, V. O. Khorovai︠a︡ faktura: Problemy ispolnitelʹstva. Moskva: Kompozitor, 2008.

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5

Semeni︠u︡k, V. O. Zametki o khorovoĭ fakture. Moskva: Moskovskiĭ gos. in-t muzyki im. A.G. Shnitke, 2000.

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6

Zanettovich, Daniele. Appunti per il corso di armonia principale. Milano: Casa musicale sonzogno di Piero Ostali, 1985.

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7

Malcolm, Boyd, and Boyd Malcolm, eds. Bach: Chorale harmonization and instrumental counterpoint. London: Kahn and Averill, 1999.

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8

Burns, Lori. Bach's modal chorales. Stuyvesant, NY: Pendragon Press, 1995.

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9

Ellis, Mark R. A chord in time: The evolution of the augmented sixth sonority from Monteverdi to Mahler. Burlington, VT: Ashgate, 2009.

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10

Schoffman, Nachum. From chords to simultaneities: Chordal indeterminacy and the failure of serialism. New York: Greenwood Press, 1990.

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11

Schorer, Dylan. Acoustic guitar chord and harmony basics. San Anselmo, CA: String Letter Pub., 2001.

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12

A chord in time: The evolution of the augmented sixth from Monteverdi to Mahler. Farnham, England: Ashgate, 2010.

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13

Polston, Larry G. Chording arpeggios: Piano course : book and cassette : Southern gospel at its best : introductions, fills, rhythms, chord charts-major & minor, how to use diminished & augmented chords. Bonifay, Fla: Rain Tree, 1990.

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14

Almada, Carlos. Harmonia funcional. Campinas, SP, Brasil: Editora Unicamp, 2012.

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15

The encyclopedia of picture chords for all keyboardists. New York: Amsco Publications, 1996.

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16

Boyd, Malcolm, and Malcolm Boyd. Bach. New York: Vintage Books, 1987.

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17

Boyd, Malcolm. Bach. Oxford: Oxford University Press, 1994.

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18

J, Scott Richard. Chord progressions for songwriters. New York: Writers Club Press, 2003.

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19

Cotter, Geraldine. Geraldine Cotter's Seinn an piano: Playing the piano Irish style. Cork: Ossian Publications, 1996.

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20

Overly, Mike. The guitar encyclomedia. Dayton, Ohio, USA: GEM Pub., 1996.

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21

Graf, Richard. Die Akkord-Skalen-Theorie & Jazz-Harmonik. [Germany]: Advance Music, 1997.

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22

Chuck, Sher, ed. The jazz singer's guidebook: A course in jazz harmony and scat singing for the serious jazz vocalist. Petaluma, CA: Sher Music, 2009.

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23

Cooke, Nym. American Harmony: Inspired Choral Miniatures. David R Godine, 2018.

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24

Horn, Stacy. Imperfect harmony: Finding happiness singing with others. 2013.

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25

The heart of vocal harmony: Emotional expression in group singing. 2016.

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26

Bulgarian Harmony in Village, Wedding, and Choral Music of the Last Century. Farnham, UK: Ashgate, 2015.

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27

Temperley, David. Harmony. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0003.

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An exploration of the harmonic language of rock is presented, relying heavily on corpus data. Chords in rock are overwhelmingly root-position major and minor triads. The commonly-used triads are those within the “supermode”—a global scale containing all scale degrees except flat-2 and sharp-4. With regard to harmonic progression, rock shows an almost equal frequency of “classical” harmonic motions (descending fifths and thirds, ascending seconds) and “anti-classical” ones (ascending fifths and thirds, descending seconds). “Flat-side” chords (bVII, bIII, bVI) tend to cluster together, as do “sharp-side” chords (ii, vi, iii), suggesting something like the major/minor organization of common-practice music, though it is much more of a continuum in rock. Other topics addressed include common harmonic patterns, linear and common-tone logic, cadences, tonicization, and pedal points.
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28

Tenney, James. Introduction to “Contributions toward a Quantitative Theory of Harmony”. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0010.

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James Tenney presents the introduction to his 1979 essay “Contributions toward a Quantitative Theory of Harmony.” In this introduction, Tenney discusses the history of consonance/dissonance, paying attention to the semantic problem, relations between pitches, qualities of simultaneous aggregates, and contextual as well as operational and functional senses of consonance/dissonance. He also explores the structure of harmonic series aggregates, focusing on harmonic intersection and disjunction, harmonic density, and harmonic distance and pitch mapping. Finally, he considers problems of tonality by analyzing harmonic-melodic roots and the “tonic effect,” along with harmonic (chordal) roots, the “fundamental bass,” and a model of pitch perception in the auditory system. In an epilogue, Tenney describes new harmonic resources as well as prospects and limitations of his contributions.
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29

Harris, Ellen T., and Ellen T. Harris. Musical and Dramatic Structure. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190271664.003.0004.

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The early sources of Dido and Aeneas differ in their overall layout. The harmonic structure of the opera provides a key to its organization in a practice based on earlier seventeenth-century models. Purcell, however, uses harmony in a more dramatic way than his models. The lack of a musical setting of the final chorus and dance indicated in the libretto at the end of Act II seems to skew the harmonic organization, but it also reflects his use of harmony as a dramatic tool. A structural analysis of the opera without these movements reveals a two-part symmetrical structure dividing the opera in half. The successive movements in the two halves are paired in musical structure while their textual opposition reflects the central conflict of the opera.
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30

Lambert, Philip. The Music of Alec Wilder. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0006.

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This concluding chapter evaluates Alec Wilder's music. Listeners are often struck by the tunefulness of Wilder's creations, whether a popular song or a concerto or sonata. Indeed, many of his melodies, in music of all types, easily satisfy one of his own standards of measurement in his book, American Popular Song (1972): that a good tune should be capable of standing alone, without accompaniment or any other contextualizing factors. At the same time, Wilder was equally devoted to a melody's harmonic setting. As he explained in American Popular Song, some effective melodies are “conceived in terms of harmony” and may not work so well in isolation. To his popular songs he brought the harmonic language of late romanticism. To his music for the concert hall he brought the language of jazz harmony. The personality and distinction of his musical language in general are as much determined by his chord constructions and progressions as by the melodies they support.
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31

Creative Chordal Harmony For Guitar Using Generic Modality Compression. Berklee Press Publications, 2012.

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32

Sessions, Peter Lynn. The Functions of Chords: For Pop, Jazz, and Modern Styles. P&r Press, 2002.

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33

Boyd, Malcolm. Bach: Chorale Harmonization and Instrumental Counterpoint. Kahn & Averill, 2000.

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34

Smith, Kenneth M. Desire in Chromatic Harmony. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923426.001.0001.

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Of the many composers in the Western classical tradition who celebrated the marriage between psyche and sound, those explored in this book followed the lines diverging from Wagner in philosophizing the nature of desire in music. This book offers two new theories of tonal functionality in the music of the first half of the twentieth century that seek to explain its psychological complexities. First, the book further develops Riemann’s three diatonic chord functions, extending them to account for chromatic chord progression and substitution. The three functions (tonic, subdominant, and dominant) are compared to Jacques Lacan’s twin concepts of metaphor and metonymy, which drive the apparatus of human desire. Second, the book develops a technique for analyzing the drives that pull chromatic music in multiple directions simultaneously, creating a libidinal surface that mirrors the tensions of the psyche found in Schopenhauer, Freud, and the post-Freudians Lacan, Lyotard, and Deleuze. The harmonic models are tested in psychologically challenging pieces of music by post-Wagnerian composers. From the obsession with death and mourning in Suk’s Asrael Symphony to an exploration of “perversion” in Strauss’s Elektra, from the post-Kantian transcendentalism of Ives’s Concord Sonata to the “Accelerationism” of Skryabin’s late piano works, and from the Sufi mysticism of Szymanowski’s Song of the Night to the failed fantasy of the American dream in Copland’s The Tender Land, the book cuts a path through the dense forests of chromatic complexity and digs deep into the psychological makeup of post-Wagnerian psychodynamic music.
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35

The Berklee Book Of Jazz Harmony. MUSIC SALES, 2013.

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36

Lehman, Frank. Analyzing Chromaticism in Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0005.

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This chapter provides a set of small analytical case studies meant to illustrate important methodological and interpretive issues that arise in the study of chromatic film music. Five central topics organize these analyses, each with interesting ramifications for the structure and expressive content of film music: contextuality, distance, voice leading, equivalence, and patterning. Examples are drawn from a range of film composers and styles, with special emphasis placed on the idiosyncratic and influential work of Bernard Herrmann. A recurring theme throughout is that of leitharmonie—the use of chords and harmonic progressions in a motivic- and symbolic-rich fashion. Increasing emphasis is placed on hermeneutics and the issue of how music, and harmony in particular, aid listeners in structuring and interpreting filmic narrative.
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37

Harmonik Im Umbruch: Akkordtypen Und Formationen Vom 18. Bis in Das 20. Jahrhundert (Beitrage Zur Europaischen Musikgeschichte). Peter Lang Publishing, 2003.

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38

Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.

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Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “end-peaking,” through increased rhythmic density, phrasal irregularity, and emphasis of non-tonic harmonies. Other strategies may be used to shape the energetic or tensional trajectory of a song as a whole. Finally, shifts in scale or tonal center can contribute greatly to the expressive impact of a song.
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39

Parallelakkordik. Peter Lang Publishing, 2005.

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40

Vocal score revised by Michael Pilkington. Haydn, Wind Band Mass, Harmonie-Messe (Hob. XXII: 14), The New Novello Choral Edition. Novello Publishing Limited, 2002.

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41

Guitar Encyclomedia: How to See the Whole Fretboard and Easily Play Its Many Chord, Scale and Arppeggio Fragments. 2nd ed. Twelve Tone Music Pub, 2002.

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42

Overly, Mike. Bass Encyclomedia: How to See the Whole Fretboard and Easily Play Its Many Chords, Scale and Arpeggio Fragments. 12 Tone Music Pub., 2003.

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43

Preston, Katherine K. George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.001.0001.

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George Frederick Bristow (1825-1898), a pillar of the nineteenth-century New York musical community, was educated, lived, and worked in New York for his entire life. A skilled performer (piano, organ, violin, conducting), he was a decades-long member of the Philharmonic Societies of New York and Brooklyn, and conducted the Harmonic Society, Mendelssohn Union, numerous church choirs, and pickup choral and instrumental ensembles organized for special events. He taught music privately and in the public school system. Bristow’s professional activities were those of a highly skilled urban journeyman musician--typical of many who worked in America during the period. Bristow was a steadfast and outspoken supporter of American composers throughout his career. This started in 1854 with his participation--along with William Henry Fry and editor Richard Storrs Willis--in a months-long journalistic battle that centered on the Philharmonic Society’s lack of support for American composers, an activity that has dominated his historical reputation. But he was also a prolific composer: of five symphonies, two oratorios, an opera, many secular and sacred choral pieces, chamber music, songs, and works for piano and organ. As a quiet and self-effacing individual, Bristow was not a self-promoter. But many of his contemporaries regarded him as a skilled performer, a generous colleague, and the most important American classical composer during much of the mid-century period.
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44

Evans, Lee. Crash course in chords. 2013.

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45

Deahl, Lora, and Brenda Wristen. Redistribution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190616847.003.0004.

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Chapter 4, the first of several chapters devoted to specific alternative strategies for small-handed players, shows how redistributing notes--taking notes with the left hand that are meant to be taken by the right, or the reverse--can mitigate or even eliminate problems caused by small handedness. To redistribute notes, the pianist must mentally reconfigure note distributions printed on the score and translate that information into action. The difficulty of this task may explain why redistribution is underutilized as an adaptive approach. Inventive solutions to common challenges found in a wide range of pedagogical and concert piano literature are presented. Specific areas of focus include: uncrossing parts; eliminating stretches in chords and arpeggios; facilitating leaps or hand shifts; increasing accuracy, power, and control; maintaining more neutral hand and wrist positions; facilitating trills and tremolos; maintaining legato and line; and projecting harmony.
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46

Aikin, Jim. A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials). Backbeat Books, 2004.

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47

Gann, Kyle. The Human Faith Theme and the Whole-Tone Hypothesis. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040856.003.0003.

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The Concord Sonata is a cyclic work based on a theme that occurs in all four movements, known as the “Human Faith” theme. The appearances of this theme in various keys suggest an overarching harmonic structure based on the whole-tone scale, giving way frequently to an opposition between the keys of A and E-flat. A whole-tone scale plus one other note serves as an importance source-chord for the entire sonata.
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48

Miller, Leta E. Learning the Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0002.

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This chapter studies Kernis's early years and training. During the seventh grade, Mary Jane Scholl, a freelance music teacher, started Kernis on the violin. She also introduced him to some basic concepts of music theory and elementary composition—writing simple counterpoints and four-part chorales—which eventually led him into free composition and his first instrumental pieces. Kernis then began to teach himself piano “by sight-reading all the music [he] could get [his] hands on.” During high school, he studied jazz keyboard harmony at Temple University. He also took private piano lessons there, but after acting as his own teacher for so many years, he had developed enough bad habits that both he and the teacher were frustrated. By the time Kernis left for college in the fall of 1977, he had already won awards in composition from the National Federation of Music Clubs (NFMC).
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49

Carlin, Richard, and Ken Bloom. Eubie Blake. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635930.001.0001.

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The book tells the story of one of the key composers of 20th-century American popular song. Through his music, Eubie Blake rose from the slums of Baltimore to the heights of Broadway success. His show Shuffle Along was the first African American show to win a major white audience, becoming the tenth most popular show of the 1920s. The show introduced future black stars—including Josephine Baker, Paul Robeson, and Florence Mills—and the syncopated chorus line, and introduced jazz-styled music to Broadway. Blake’s composing skills were matched by his piano mastery. Even in the Depression, Eubie continued composing innovative new works. At 61, he studied the Schillinger Method to expand his harmonic knowledge and ability to compose beyond the confines of traditional popular song. Blake’s persistence in maintaining his ties to ragtime and Broadway paid off in the late 1960s, when he was rediscovered due to new recordings and personal appearances. In the last decade of his life he influenced an entirely new generation of pianists and composers from the jazz and classical worlds. This is the first biography to explore the wealth of personal records, interviews, and deep research to illuminate Blake’s life and impact on over 100 years of American culture. It tells the true story of African American performers struggling to achieve recognition and success in the popular music world at a time of deep racism. Blake’s career blazed a path for countless others to rise above the limitations previously faced by blacks in the popular music world.
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