third Harmony

editionin Context (3rd Edition) Roig-Francolí

HARMONY
in
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CONTEXT

MIGUEL A.
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 Harmony in Context (3rd Edition) Roig-Francolí
Miguel A. Roig-Francolí
College-Conservatory of Music
University of Cincinnati

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Harmony
h a r m o n y in Context
Third Edition

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 Harmony in Context (3rd Edition) Roig-Francolí

HARMONY IN CONTEXT, THIRD EDITION

Published by McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121. Copyright © 2020 by McGraw-Hill
Education. All rights reserved. Printed in the United States of America. Previous editions © 2011, 2003. No
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Library of Congress Cataloging-in-Publication Data

Names: Roig-Francoli, Miguel A., 1953– author.
Title: Harmony in context / Miguel A. Roig-Francoli.
Description: Third edition. | New York, NY : McGraw-Hill, 2020.
Identifiers: LCCN 2018043774| ISBN 9781260055764 (alk. paper) | ISBN
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 Harmony in Context (3rd Edition) Roig-Francolí

 Dedication
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To my sons, Gabriel and Rafael.
And to the memory of my father.

“Tell me, and I may forget.

Show me, and I may remember.
Involve me, and I will learn.”
Anonymous PedAgogue

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 About the Author
Harmony in Context (3rd Edition) Roig-Francolí

A native of Spain, Miguel A. Roig-Francolí holds graduate degrees in composition

from the Madrid Royal Superior Conservatory and Indiana University, and a Ph.D.
in music theory from Indiana University. He is a Distinguished Teaching Professor of
Music Theory and Composition at the University of Cincinnati College-Conservatory
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of Music, and has also taught at Ithaca College, Northern Illinois University, Indiana
University, and the Eastman School of Music. His research interests include the his-
tory of music theory, Renaissance compositional theory and practice, analysis of early
music, and the pedagogy of music theory. Roig-Francolí is the author of Understanding
Post-Tonal Music and Anthology of Post-Tonal Music (McGraw-Hill, 2008), and his
articles and reviews have appeared in numerous journals and encyclopedias in the
United States, Europe, and South America. His compositions have been widely per-
formed in Spain (including performances by nine major symphony orchestras and by
the National Ballet of Spain), England, Germany, France, Italy, Switzerland, Greece,
Brazil, Colombia, Mexico, Canada, and the United States. Among his many honors
are first prize at the National Composition Competition of the Spanish Jeunesses
Musicales (1981), second prize at the UNESCO International Rostrum of Composers
(Paris, 1982), the Medal of Honor from the Superior Conservatory of Music of the
Balearic Islands (2004), the University of Cincinnati’s A.B. “Dolly” Cohen Award for
Excellence in Teaching (2007) and George Rieveschl Award for Creative and/or Schol-
arly Works (2009), and the 2016 American Prize in Composition (band/wind
ensemble division).

iv

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 Contents
Harmony in Context (3rd Edition) Roig-Francolí

Preface xii An Example by Handel 74

A Message to the Student xvii Musical Texture 76
Acknowledgments xviii
Chapter F Introduction to Species
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Counterpoint 87


Introduction The Melodic Line in Species Counterpoint 88
The Fundamentals of Music 1 General Guidelines for Two-Part
Counterpoint 91
Chapter A Pitch: Notation and Intervals 2 First Species (1:1) 91
Second Species (2:1) 94
The Notation of Pitch 2
Third Species (4:1) 96
Intervals 4
Fourth Species (Syncopated) 98
Chapter B Rhythm and Meter 20
Durational Symbols 20
Part 1

Pulse, Beat, and Meter 22
Tempo 23 Diatonic Harmony 109
Simple and Compound Meters 23
The Notation of Meter 24 Chapter 1 Harmonic Progression.
Metric Accent 26 The Connection of Chords 110
Choosing a Meter to Notate a Melody 27
Harmonic Progression 110
Asymmetrical Meters 28
Notating, Voicing, and Spacing Chords 114
Irregular Divisions of the Beat 29
Chord Connection: The Principles of
Irregular Rhythmic and Metric Relationships 30
Part Writing 116
Some Notes on the Correct Notation of Rhythm 33
Voice-Leading Guidelines for the Three
Basic Types of Progression 122
Chapter C Tonality: Scales and Keys 39 Melodic Style 123
Modes and Scales 40 The Big Picture: Voice Independence 125
Key Signatures 44
Other Modes and Scales 48 Chapter 2 The Fundamental Progression:
The Tonic and Dominant Triads
Chapter D The Rudiments of Harmony I: in Root Position 132
Triads and Seventh Chords 58 The Tonic Triad 134
Chords 58 The Dominant Triad 134
Triads 60 The I–V–I Progression 134
Seventh Chords 63 Characteristic Soprano-Bass Patterns 137
The Big Picture: The I–V–I Progression as a
Chapter E The Rudiments of Harmony II: Form-Generating Structure 138
Labeling Chords; Musical Texture 71 Procedure: Identifying Cadences
and Phrases 142
Harmonic Function, Roman Numerals 71
Pitch Patterns 143
Figured Bass 73

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 vi Contents

Harmony
Chapter 3 Harmonic in Context (3rd
Function; Edition) Roig-Francolí
Chapter 8 The Dominant Seventh
The Subdominant Triad in Root Position 147 and Its Inversions 230
The Basic Harmonic Functions 147 V7 in Root Position 230
The Subdominant Triad 148 Inversions of the Dominant Seventh 236
Characteristic Soprano-Bass Patterns 151 Characteristic Soprano-Bass Patterns 239
The Big Picture: A Model to Elaborate the The Big Picture: Elaborating the I–V–I Progression 241
Fundamental Progression 154 Pitch Patterns 244
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Pitch Patterns 156
Chapter 9 The Leading-Tone Triad 252
Chapter 4 Triads in First Inversion 161 Doubling and Voice Leading 252
The Triad in First Inversion: Uses and The Passing vii○6 254
Function 162 vii○6 as a Dominant Substitute 254
The Neighbor V6 165 The Leading-Tone Cadence 256
Characteristic Soprano-Bass Patterns 168 Characteristic Soprano-Bass Patterns 258
The Big Picture: Elaborating the I–V–I Progression 169 The Big Picture: Elaborating the I–V–I Progression 259
Pitch Patterns 171 Pitch Patterns 260

Chapter 5 The Supertonic; Melody Chapter 10 Cadences 265

Harmonization 176
Authentic Cadences 265
The Supertonic in Root Position 176 The Half Cadence 267
The Supertonic in First Inversion 178 The Plagal Cadence 268
Characteristic Soprano-Bass Patterns 180 The Deceptive Cadence 268
The Big Picture: Elaborating the I–V–I Progression 181 Pitch Patterns 272
Procedure: Harmonizing a Melody 182
Pitch Patterns 186 Chapter 11 Building the Context for
Harmony I: Phrase Structure 279
Chapter 6 Nonchord Tones 190
Motive 279
The Passing Tone 191 Phrase 280
The Neighbor Note 192 Period Structure 282
The Anticipation 194 The Big Picture: Form Diagrams 284
Incomplete Neighbors 195 More on Period Structure 285
Suspensions 198 Phrase Group 289
Pedal Point 205

6
Chapter 12 Building the Context for
Chapter 7 4 Chords 213 Harmony II: Thematic Development;
Consonant 64 Chords: The Arpeggiated 64 213 Phrase Extension 295
Dissonant 64 Chords 215 Melodic Developmental Techniques 295
The Neighbor 64 215 Phrase Extension 304
The Passing 64 217
The Cadential 64 219 Chapter 13 Harmonic Rhythm; Metric
Characteristic Soprano-Bass Patterns 223 Reduction 315
The Big Picture: Elaborating The I–V–I Progression 224
Harmonic Rhythm 315
Pitch Patterns 225

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 Contents vii

Harmony
The Big Picture: in Context
Metric Reduction: A Tool(3rd
for Edition) VRoig-Francolí
7 of V 415
Practice and Performance 322 V7 of IV (iv) 417
Compound Melody 327 Characteristic Soprano-Bass Patterns 422
Procedure: Composing Your Own Progressions 328 The Big Picture: Elaborating the I–V–I Progression 423
Pitch Patterns 424
Chapter 14 The Mediant, Submediant,
and Subtonic Triads 338 Chapter 18 Tonicization II 432
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The Mediant and Submediant Triads as Prolongations V7 of ii 432
of the Tonic 338 V7 of vi (VI) 434
Other Uses of the Mediant and Submediant 342 V7 of iii (III) 437
The Subtonic 347 V7 of vii 439
Characteristic Soprano-Bass Patterns 349 Characteristic Soprano-Bass Patterns 440
The Big Picture: Elaborating the I–V–I Progression 351 The Big Picture: Elaborating the I–V–I Progression 441
Procedure: Composing a Keyboard Harmonization 356 Deceptive Resolutions of Secondary Dominants 441
Pitch Patterns 358 Sequences with Secondary Dominants 442
Secondary Key Areas 448
Chapter 15 Other Diatonic Seventh Chords 365 Pitch Patterns 450
General Doubling and Voice-Leading Guidelines 365
The Leading-Tone Sevenths 366 Chapter 19 Tonicization III: Secondary
The Half-Diminished Seventh 367 Leading-Tone Chords 455
The Fully Diminished Seventh 368 Secondary Leading-Tone Seventh Chords 456
The Supertonic Seventh 374 Secondary vii○7 Chords in Inversion 461
The Subdominant Seventh 378 The Big Picture: Elaborating the I–V–I Progression 464
Characteristic Soprano-Bass Patterns 380 Pitch Patterns 468
The Big Picture: Elaborating the I–V–I Progression 381
Pitch Patterns 383 Chapter 20 Modulation to Closely Related
Keys 473
Chapter 16 Harmonic Sequences 389
Key Relationships: Closely Related Keys 473
The Descending Circle-of-5ths Sequence 391 Diatonic Pivot Chord Modulation 475
The Ascending Circle-of-5ths Sequence 396 Modulation to V 478
Sequences by Descending 3rds 397 Modulation to the Relative Major and Minor Keys 481
Sequences by Descending and Ascending Steps 399 Procedure: Writing Pivot Chord Modulations 485
The Big Picture: A Summary of Harmonic Sequences: Modulation and Phrase Structure: Sequential and
Elaborating the I–V–I Progression 402 Phrase Modulation; Modulating Periods 485
Pitch Patterns 404 Procedure: Harmonizing Modulating Melodies 489
Pitch Patterns 493


Part 2 Chapter 21 Small Forms: Binary and Ternary;
Chromatic Harmony and Form 411 Variation Forms 501
The Binary Principle 501
Chapter 17 Tonicization I 412 Binary Tonal Types 502
Chromatic Harmony 412 Binary Formal Designs 503
Tonicization: Secondary Dominants 414 The Ternary Principle 510
Procedure: Spelling Secondary Dominants 415 The Big Picture: Binary, Ternary, and Beyond 513

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 viii Contents

Variation FormsHarmony
513 in Context (3rd Edition) Roig-Francolí
Modulation by Enharmonic
Continuous Variations 514 Reinterpretation of the Gr +6 607
Sectional Variations 519 Procedure: Writing Modulations
with +6 Chords 613
Chapter 22 Contrapuntal Genres: Invention Modulation by Enharmonic
and Fugue 528 Reinterpretation of vii○7 613
Procedure: Writing Modulations
The Two-Voice Invention 528 with vii○7 Chords 616
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Guided Analysis. Bach: Invention No. 3, in DM 529 Pitch Patterns 617
The Fugue 531
Guided Analysis. Bach: Fugue No. 2 in Cm from The
Chapter 27 Modulation to Distantly Related
Well-Tempered Clavier, I 534
Keys II; Linear Chromaticism I 629
The Fugato 537
Chromatic-Third Relationships 629
Chapter 23 Modal Mixture 544 Triads Related by Chromatic Third 630
Borrowed Chords 544 Keys Related by Chromatic Third: Common-Tone
Modulation 632
Borrowing Chords from the Minor Mode
in a Major Key 545 Linear Chromaticism I: Linear Chromatic
Chords 636
Borrowing Chords from the Major Mode
in a Minor Key 552 Altered Triads 636
Change of Mode 553 Augmented Sixth Chords with Dominant and
Embellishing Functions 638
The Big Picture: Characteristic Soprano-Bass Patterns
and Elaborations of the I–V–I Progression 555 The Common-Tone Diminished Seventh
Chord 643
Pitch Patterns 557
Pitch Patterns 645
Chapter 24 The Neapolitan Chord 564
Chapter 28 Introduction to Large Forms 652
The Neapolitan Sixth 564
Tonicization of the Neapolitan 569 Sonata Form 652
Pitch Patterns 572 Analysis: Mozart, Piano Sonata in CM, K. 309,
I (Anthology, No. 25) 655
Chapter 25 Augmented Sixth Chords 577 The Rondo 661
Analysis: A Five-Part Rondo: Haydn, Piano Sonata
General Features and Types of +6 Chords 578 in DM, Hob. XVI:37, III
The Italian +6 580 (Anthology, No. 21) 662
The German +6 582
The French +6 587 Chapter 29 Expanding Functional Tonality:
Other Types of +6 Chords 589 Extended Tertian Chords; Linear
Summary 590 Chromaticism II 670
Pitch Patterns 592
Expanding Chordal Sonorities: Extended
Tertian Chords 670
Chapter 26 Chromatic Modulatory Techniques: Linear Chromaticism II: Linear Expansions
Modulation to Distantly Related Keys I 599 of Tonality 677
Chromatic Pivot Chords 599 Chromatic Sequences Revisited 677
Procedure: Writing Chromatic Pivot Chord Pitch Patterns 689
Modulations 605

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 Contents ix

ChapterHarmony in Context
30 The German Romantic (3rd
Lied: Edition) Equal
Roig-Francolí
Divisions of the Octave 727
Chromatic Harmony in Context 699 Parsimonious Voice Leading: The PLR Model 732
The German Romantic Lied 699 Beyond the Confines of Functional Tonality 740
Analysis 1: Schubert, Erlkönig 700 Pitch Patterns 743
Analysis 2: Schumann, “Widmung” 706
Modulation by Enharmonic
Reinterpretation of V+ 709
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Analysis 3: Wolf, “Das Verlassene Mägdlein” 710
Appendix
Pitch Patterns 714 Transposing Instruments 749

Chapter 31 Toward (and Beyond) Musical Example Index 754

the Limits of Functional Tonality 719 Subject Index 764
Tonal Ambiguity and Implied Tonality 719
Analysis: The Tristan Prelude 720

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