Harmony Through Melody

Harmony Through Melodyoffers a robust, conservatory-style approach to music theory focused on Common Era classical works, reaching far beyond basic rudiments. The authors develop techniques and strategies for exploring the fundamental interaction of melody and counterpoint with harmony.

Charles Horton is Associate Dean of the Desautels Faculty of Music at the University of Manitoba, where as Associate Professor of Music (now retired) he taught music theory, music history, counterpoint, analysis, chamber music and piano. He has appeared in concert in Canada, the United States and Europe in solo recitals, chamber music concerts and concerto performances; his teachers have included Alexandra Pierce, Marvin Blickenstaff, Jeanneane Dowis and Jerome Lowenthal. He is the founding music director (1997) of All The King's Men, Winnipeg's male-voice liturgical choir; the choir has undertaken six English cathedral tours, most recently for residencies at Worcester and Exeter Cathedrals. He is a founding member of the Society for Music Theory and a former co-editor of In Theory Only. David A. Byrne is Assistant Professor of Music Theory in the Desautels Faculty of Music at the University of Manitoba, where he teaches music theory and orchestration. He earned a Ph.D. in music theory from the University of Cincinnati, with a dissertation on the harmonic theories of Sigfrid Karg-Elert. His research encompasses the history of theory in the early twentieth century, transformational models of chromatic harmony, and the analysis of symphonic form. His work is published in Music Research Forum, and he has presented at many conferences including the Society for Music Theory, the Society for Music Analysis, and the International Conference on Nineteenth-Century Music. In addition to his teaching and research in music theory, he is a clarinetist, conductor and arranger. Lawrence Ritchey (1939 - 2006) was Associate Professor of Music in the Desautels Faculty of Music at the University of Manitoba and a Senior Fellow at St. John's College; he taught music theory, jazz history, organ, and harpsichord. He appeared in concert in Canada, the United States and Europe; his frequent performances included solo recitals, concerto performances, continuo playing and collaborations with singers in performances of American popular song and jazz. He teachers included Arthur Poister and Marcel Dupré. He served as chair of the editorial board of the interdisciplinary journal, Mosaic, and was organist and choirmaster of St. John's Anglican Cathedral in Winnipeg.

Part I - Fundamentals 1. Musical Sound and Its Notation 2. Scale and Intervals 3. Modes and Keys 4. Rhythm and Meter Part II - Modality: Melody and Harmony 5. Melodic Design 6. Duple Paraphrase 7. Harmonic Framework 8. Chordal Succession Part III - Vocal Melody and Counterpoint 9. Melodic Dialogue 10. Triple Paraphrase 11. Vocal Duet Part IV - Diatonic Harmony and Tonicization 12. Tonic Confirmation 13. Suspensions and Syncopations 14. Tonicization 15. Elaborating the Lower Voices 16. The Chorale Part V - Instrumental Melody and Counterpoint 17. Quadruple Paraphrase 18. Instrumental Duet 19. Elaborating the Soprano 20. Accompanied Melody 21. Diatonic Sequence 22. The Minuet Part VI - Chromatic Harmony and Form 23. Primary Mixture 24. Intensifying the Dominant 25. Intensifying the Tonic 26. Formal Modulation 27. Chromatic Sequence 28. Secondary Mixture 29. The Romance Part VII - Extensions of Chromatic Tonality 30. Enharmonics 31. Extended Voice-Leading Techniques 32. Twentieth Century Melody