Playable BooksArnold Schoenberg · section 66 of 66
Subject index
Read and hear this section in the playable edition →(Bold numbers indicate pages that also appear in the table of contents as chapter headings.)
[Digital edition note: References use the printed book’s page numbers. “f.” means the following page; “ff.” means the following pages. Tables after the entries identify references printed in bold in the original. The German original’s alphabetical order is retained.]
Eighth tones 23
Chords 8 ff., 26 ff.; writing chords 37 ff.; 150 (guidelines for their use); reinterpretation of chords 191; diatonic chords 20, 28, 34 ff.; chromatic chords 213, 219, 462; incomplete chords 101 ff., 106; chords of five or more tones 375 f., 442 f., 463, 465 f., 467 ff. (whole-tone chords), 478 and 484 ff. (chords in fourths), 493, 502 f.
Alto: see Voice
Altered chords 219, 271, 422 ff. (see also Triads, Seventh chords, Ninth chords, etc.)
Atonal 157, 487 f. note
Outer voices 50 (see also Bass and Soprano); melodic handling of the outer voices: see that entry
Bass: see Voice and Melodic handling of the outer voices; figured bass 9 f., 42 f., 127, 466; bass tone and root 47, 61 ff., 67 ff., 92 f., 141, 216 f., 461
Motion of the voices 50; in quarter or eighth notes 252, 277, 331, 355 (chorale), 415, 454; parallel, oblique, and contrary motion 72 f., 80 note, 81, 137 (see also Parallel fifths and octaves)
Cambiata 223 note
Chorale harmonization 9, 342, 346 ff.
Chromaticism 125 (cross-relation), 195 note (in modulations); chromaticism and secondary dominants 213 f., 216 f., 227 f.; in connections of chords from the minor-subdominant region 275; in the pedal point 258; chromatic passing notes 408; chromatic neighboring notes 412 f.; chromatically introduced chord tone 277, 310 f.; chromatic scale 278, 299 f., 326, 411, 460, 463 ff., 472, 488 note, 504
Dissonance and its treatment 54 f., 61 f., 80, 114 f., 168 ff., 178; in the six-four chord 55 ff., 69 f., 92 f., 174 f.; in the seventh chord 99 f.; in the augmented triad (see also that entry) 131; in the ninth chord 419; nonharmonic tones 391 ff.; freer treatment 173 f., 387, 462; passing dissonance (see Passing motion)
Dissonance and consonance 14, 17 f., 83 note, 85 f., 381 f., 386 f., 399, 462, 489
Dominant: see Dominant, Secondary dominant, Subdominant, and Dominant of the dominant
Dominant seventh chord 165; in the deceptive cadence 168 f., 170, 173; in the cadence 177, 251; in modulation 201; as a secondary dominant 217; as a vagrant chord 300 f., 463; and the whole-tone chord 468, 476 (see also Seventh chords, Fifth degree, and Dominant)
Dominant ninth chord 420
Triads, primary and secondary 26, 28, 35 f., 150 f. (guidelines for their use), 213 note, 215 ff.; diatonic triads 34; connections of triads 43 ff., 47 ff., 87 ff., 434 ff.; triads in minor 122 ff., 217, 232 (guidelines for use of the artificial minor triad); alterations of triads 422 ff.; inversions of triads 62 ff., 129 ff.; see Sixth chords and Six-four chords
Triads, augmented 122 f., 131 f., 151 (guidelines for their use); 197 (modulation); as secondary dominants 218, 462; artificial augmented triads (guidelines for their use) 232, in cadences worked out within a key 370; as vagrant chords 239, 288, 292 ff., 313, 316, 460; see also Whole-tone chords 468, 470
Page references printed in bold in the original
Triads, diminished 36, 53, 57 ff., 151 (guidelines for their use); degrees II and VII in minor 122, 132 f.; as secondary dominants 217, 232 (guidelines for this); 232 (artificial diminished triads); 274 (minor-subdominant relationships); 370 (in cadences worked out within a key); diminished triads in the pedal point 258 (see also Second and Seventh degrees)
Third degree 35 f., 98, 131 f. (minor), 164 f. (in the cadence), 232 (as a seventh chord with diminished fifth), 233 (as a secondary seventh chord)
Third tones 23
Major 20 ff., 464 f.; major and minor 30 f., 116 f., 276, 409, 464 f. (see also Relationship between parallel major and minor)
Passing motion 54 ff.; of the six-four chord 94 ff.; of the seventh chord 99, 168, 178; of nonharmonic tones 390 ff., 400; passing motion in the pedal point 256
Passing notes 5, 55 f., 402, 407 ff.; in the chorale 355 f., 364 (see also Treatment of dissonance)
Parallel unisons 76 ff., 81 (see also Parallel octaves)
Enharmonicism 187 f. note, 237, 241 f. and 245 (diminished seventh chord), 295, 297, 301, 316, 318, 424
First degree 35, 48, 67, 90; as a secondary seventh chord 234; as a six-four chord: see that entry (see also Root and Cadences)
Exoticism 19, 23, 24, 464, 467
Fifth degree 35 f., 159, 161 ff., 167 f.; fifth degree and the number five 385 (see also Dominant, Conclusions, and Cadences)
Root progressions 44, 140, 141 ff., 150 (guidelines for these), 198 (in modulations), 258 and 261 (in the pedal point), 275 (chords of the subdominant region): “ascending” (144, 150) and “descending” steps (145, 150); root motion by seconds (“superstrong” progressions) 142 ff., 234 f., 150; in the cadence (IV V I and V IV I) 161, 162, and 164; with secondary dominants 231; root leaps of a third 142, 145 f., 150, 231; upward root leaps of a fourth 141 ff., 150; with the diminished triad 58, 124; seventh chord 100 f., 150, 254; six-five chord 110; diminished seventh chord 238 f., 240; augmented triad 293; ninth chord 410; secondary dominants 226, 231, 461; downward root leaps of a fourth 144 f. note, 150, 231; root leaps of a fifth: see Leaps of a fourth
Whole-tone chord and scale 464, 467 ff.; treatment 475 ff.; and the chord in fourths 486
Thoroughbass: see Figured bass
Law of the shortest way 44, 137
Root 18 f., 20 ff., 35, 58 f.; root and bass tone (see that entry); root and tonality 29, 156 f., 182 ff., 462, 487 note; alteration of the root 235, 284 f., 297, 427; omission of the root 138, 143, 168, 235 ff., 298 (see also Tone)
Nonharmonic tones 372 ff., 462
Harmonic bond 44, 59 f., 104, 137
Harmonizing a melody 163, 318 ff., 345, 348 (see also Chorale harmonization)
Harmonic-melodic events: see that entry
Horn fifths 75
Page references printed in bold in the original
Intervals, dissonant 19, 51 f., 54, 119, 152; with the diminished seventh chord 241 f., 269, 278; with vagrant chords 318; with chords of the minor-subdominant region 275
Cadence 144, 153 ff., 160 ff., 174 ff., 192 f., 271 f., 298, 366 f.; shortening by omission of the route 432 f.; expansion through secondary dominants 218, 225; minor subdominant 270, 280; passing notes 418; vagrant chords 444 f.; cadences on degrees of the scale: see that entry
Church modes 22 note, 30, 116 ff., 464 f., 488 note; 167 note (plagal cadence); 348 note (chorales); and secondary dominants 213 ff., 231
Tone color, pitch, loudness: see Dimensions of tone
Consonance: see Dissonance
Counterpoint 8 f., 27, 247 f., 376; 25 and 465 f. note (polyphony)
Artificial diminished and augmented triads, seventh chords, etc.: see the respective entries
Position of chords, close and open 39 f., 45, 103, 261 (in the pedal point), 266 (in chorales), 366; in chords of six or more tones 502 f., 505; octave, fifth, and third positions 43 and 45
Leading tone 90, 102 f., 116, 217, 228 f., 232; in minor 119 f.; as a suspension 404
Sustained voice 256, 259 f.
Ornaments 55 f., 402 ff.; as an explanation of dissonance 168, 178, 387, 390
Mediant 36
Multiple degrees (and multiple voices) 25
Melodic matters 9, 27 f., 39 f., 49 f., 94 (six-four chord), 181, 247; in modulations 265; in the chorale 347 f.; ornaments 402, 404, 414
Melodic handling of the outer voices 50, 64 f., 71, 140, 148 ff., 439; soprano 102, 104, 265; bass 50, 68 f., 91, 108 f., 130, 256
Melodic-harmonic events 26 f., 37, 320, 341, 376, 398 f., 400 f., 427, 466, 471
Melodizing 10, (246 f.)
Inner voice 153; see also Voice
Modulations 11, 182, 186 ff., 253, 280, 321; with secondary dominants 218, 222; with the diminished seventh chord 239 f.; with chromatic passing notes 409; with the augmented triad 296, 322 f.; further modulation schemes 443 ff.; to the first circle of fifths upward 190 ff., 206 f.; to the first downward 203 ff.; to the second upward 325 ff.; to the second downward 325, 329 f.; to the third and fourth upward 253 ff., 265, 449 ff.; to the third and fourth downward 266 ff., 449 ff.; to the fifth and sixth 331 ff., 448 ff.; to the seventh, eighth, and ninth 340, 450 ff.
Minor 116 ff.; 151 f. (guidelines); cadence 167 f.; minor scale 119 f., 278 f., 464 f.; minor and major: see that entry; minor triads: see Triads
Mozart fifths 75, 297
Secondary dominant 213, 217 ff., 231 and 234 (guidelines for its use), 460 ff., 463; in minor 225; and the diminished seventh chord 235 ff.; in the pedal point 258; and the augmented six-five chord 297 f.; and the ninth chord 420
Neutral chord 183, 186, 191 (see Modulation)
Ninth 19, 432; in the chord in fourths 486
Ninth chord 5, 375, 388 f., 417 ff.; inversions 300, 417 ff.; and the diminished seventh chord 235 ff., 288, 441, 456, 461 f.; and the deceptive cadence 168; as a whole-tone chord 469; alterations of the ninth chord 422, 427 ff., 431
Page references printed in bold in the original
Dominant 35 f., 58, 233 (guidelines); see also Dominant seventh chords; transformation (reinterpretation) of the dominant in modulations to the third and fourth circles of fifths 255, 257 f.; passing through the dominant 256 ff., 260; dwelling on the dominant: see Sustained voice and Pedal point; repetition of the dominant 259 f.
Dominant region 36, 144, 182, 227; and the minor-subdominant region 272
Upper voice: see Outer voice
Overtones 17 ff., 20 ff., 41, 54, 63; with the sixth and six-four chords 65 and 68 f.; and tonality 184; and secondary dominants 216 f.; and nonharmonic tones 376, 385 (the number five), 386 f.; and chords in fourths 478
Octave 19; parallel octaves 72 ff., 107, 137, 408 (in passing motion); octave leap 52, 91, 177
Organum (in fifths and fourths) 76, 80
Pedal point 251, 256 ff.
Spelling 188 note, 311, 424, 455, 464
Portamento 54
Fourths 19, 92; Lydian fourth 213 note; chord in fourths 478 ff.; parallel fourths 78 f.; leap of a fourth 51; augmented fourth: see Tritone; root leap of a fourth: see Root progressions
Six-four chord 66, 92 ff., 105; and the four-three chord 110 f.; in minor 129 ff.; guidelines for its use 150; in the deceptive cadence 173; in the cadence 174 ff., 241, 244, 245, 251 f., 286 f.; freer treatment 458; and the sixth chord 67 ff. (see also that entry)
Cross-relation 121, 125; with the diminished seventh chord 237 and 245; with chords of the minor-subdominant region 275
Fifths 19, 26, 385 (and the number five); diminished fifths 19, 53 f., 57 f., 178 f. (see also Second and Seventh degrees and Diminished triad)
Parallel fifths 5, 72 ff., 83 note (in modern music), 137, 180, 401, 408 (in passing motion)
Leap of a fifth 51; diminished fifth: see Tritone; root leap of a fifth: see Root progressions
Circle of fifths 187, 253 f. note, 422 note (see also Modulations)
Six-five chord 110 ff. (see also Seventh chord and its inversions)
Augmented six-five chord 296 ff., 304 ff., 313, 317, 447, 459, 462
Rhythmic matters 9, 246, 248 f., 256 (in the pedal point), 265, 439; in the chorale 347
Guidelines (see Preface to the Third Edition, page VIII) 149 ff.; for root progressions 150, use of chords 150 f., voice leading 152 f., use of secondary dominants 231, secondary dominant seventh chords 231 f., artificial augmented triads, minor triads, diminished triads 232; seventh chords with diminished fifth 232 f., diminished seventh chords 245, chords of the minor-subdominant region 273 ff.
Short exercises 10, 47 ff.
Conclusion 102 f. (leading tone), 127 f. (minor), 153 ff.; authentic, full, and half cadences 366 ff.; plagal cadence 167, 355 (in chorales), 342 f., 368 f., 433; cadence leading to secondary degrees 369; Phrygian cadence 370; cadence worked out within a key 368, 370, 465
Page references printed in bold in the original
Deceptive cadence 144, 167 ff., 369; in modulations 193, 328; from secondary dominants 214 note, 222 f.; from the diminished seventh chord 236 and 245; in the pedal point 261; in the chorale 351 f.; from the ninth chord 419, 431 f.
Sixth degree 35; in minor 119 f., 132 note; guidelines for its use 151; in the cadence 165 f.; in the deceptive cadence 167 f. (see also that entry); in modulation 197; as a secondary seventh chord 233
Second 19; augmented second 237
Second chord 110 ff., 150 (see also Seventh chord and its inversions)
Augmented second chord 296, 299 ff., 313, 317, 447, 462
Second-fourth-sixth chord: see Six-four chord
Step of a second 403 f.; root motion by a second: see Root progressions; augmented second 278
Seventh 19, 52 (leap); the “wicked seven” 172 f., 418; ascending seventh 439
Seventh chord 99 ff., 113 f.; 266 and 269 (“direction-giving”); 328, 387 f.; in minor 133 f., 439 f.; preparation by the octave 139; in the cadence 165; in the deceptive cadence 168 and 170; guidelines for its use 150 f. and 233 f. (secondary seventh chords); connections of all seventh chords 434, 437 f.; alterations of seventh chords 422, 427 (see also Dominant seventh chord)
Seventh chord, inversions of 110 ff., 113 f.; in minor 136; guidelines for their use 151 (see also Six-five, Four-three, and Second chords)
Augmented seventh chord 468 (see also Augmented four-three, Six-five, and Second chords)
Artificial seventh chords with diminished fifth: see Diminished triads as secondary dominants
Diminished seventh chord 180 f., 234 ff.; 245 (guidelines for its use), 258 (in the pedal point), 288 ff., 309, 311 ff., 319 f., 461 f.; inversions 243; in chorales 352 note; further details 439, 441, 455, 457 (see also Diminished fifth, Ninth chord, and Seventh degree)
Sequence 104, 113, 148 ff., 338 ff.
Sixth 19; 52 f. and 107 (leap); Dorian sixth 213
Neapolitan sixth 217, 283 ff., 306, 314 ff., 317, 331, 336, 447 ff., 459, 462, 463
Parallel sixths: see Parallel thirds
Sixth chord 64 (in recitative), 65, 66 ff., 87 ff., 105 f.; in minor 129 ff.; guidelines for its use 150; in major as the Neapolitan sixth (see also that entry) 285
Augmented sixth chord 300 f.
Seventh degree 36, 47, 53 ff., 89 (sixth chord), 98 (six-four chord), 101 f.; guidelines for its use 151; seventh chord 111, 151, and 234; in minor 119 f., 132 f., 179 f., 197 (modulation); in the cadence 165; freer treatment 178 ff. (see also Leading tone)
Scale: see Tonleiter (Scale)
Soprano: see Human voice and Outer voice
Voice, human 37 ff., 42, 45, 153
Voice leading 9 f., 45 and 49 (crossing of voices), 49 f., 59 f., 65 (in inversions), 76 f., 81, 140 note, 228 f. and 310 (chromaticism), 237 and 241 (diminished seventh chord), 247 f., 273 f., 401 (see also Melodic matters, Parallel fifths and octaves, etc.)
Degrees 35 f., 44 f., 123 note (“raised and unraised” degrees), 243, 398, 400, 466; in minor 122
Page references printed in bold in the original
Wealth of degrees 272, 445 (see also First, Second, and subsequent degrees through Seventh)
Degrees worked out as keys 219, 260 (in the pedal point), 331 (in modulations), 350 ff. (in chorales); 368, 370, and 465 (in cadences)
Subdominant: see Unterdominante (Subdominant)
System of the theory of harmony 1 ff., 8 ff., 114 f., 377 ff., 388 f., 398 ff., 460 ff., 466, 490; expansion of the system 422 ff.
System of construction in thirds 236, 239, 376, 383 f., 388 f., 465; and of construction in fourths 478 f., 489 ff.
Tempered system 19, 22 ff., 30, 55, 188 note, 378 f., 387
Meter 246 ff.; parts of the measure 251, 256 (in the pedal point), 360 (in chorales)
Tenor: see Human voice and Inner voice
Third 19, 26, 354; minor third 236, 292; major third 292 (see also System of construction in thirds)
Parallel thirds 78 f., 81 f. note
Root leap of a third: see Root progressions
Four-three chord 110 ff. (see also Seventh chord and its inversions)
Augmented four-three chord 296, 299 ff., 313, 317, 447, 462
Third-fourth-sixth chord: see Four-three chord
Third-fifth-sixth chord: see Six-five chord
Third-sixth chord: see Sixth chord
Tone 15 ff., 20 ff., 387, 461; dimensions of tone 388, 506; raising and lowering of a tone: see Chromaticism and Alteration. See also Doubling and Repetition of a tone
Tonality 4, 28 ff., 86, 156 ff., 182 ff., 189, 271 f., 462 f., 464 f., 487 f. note; and vagrant chords 299, 444; and intermediate keys 325 note
Tonality, floating 157, 165; and suspended 444, 459 ff., 472 ff.
Working out as a key: see Degrees
Tonic 35 f. (see Root); tonic-dominant harmonization 358
Scale 20 ff., 23 ff. (the 53-tone scale), 24 ff. (the scale with multiple degrees); 464 f., 466, and 488 (the polytonal-chromatic scale); 471, 473 f.; scale as melody 94, 96, 278, 312, 403, 408, 411 (see also Chromatic scale and Whole-tone scale)
Transposition: modulation to the third circle of fifths by transposing a modulation to the fourth, and vice versa 265; transposition of cadences 368
Trill 412
Tristan chord 308
Tritone 90 f., 139
Inversions: see Triads, Seventh chords, and Ninth chords. Historical origin of inversions 65
Subdominant 36; relationship of the minor subdominant 270 ff., 273 f. (guidelines), 307 f.; in cadences worked out within a key 370, 462, 463; subdominant region 144, 182, 227, 232, 267, 272 (in minor)
Vagrant chords 164, 298 f., 309 ff., 440, 462; in chorales 352 note; in passing motion 409; and floating tonality 460; see also Diminished seventh chord (238, 288), Augmented triad (294), Ninth chords (421), Whole-tone chords (475), etc. Also the two unnamed chords on degree II 307 f., 317
Doubling of a chord tone 41, 61 (in the diminished triad), 505; doubling of the third 72, 89, 105, 112, 132
Relationship between chords 278 (related by thirds and fifths), 280 f., 462 f.; between keys 189, 271 f., 322, 464 f.; between parallel major and minor keys 253 f., 266, 447 f., 464 f.; between relative keys 209 f., 253 f., 464 f.
Page references printed in bold in the original
Four-part writing 37 ff., 45
Quarter tones 23, 25
Fourth degree 35; in cadences 161 ff.; in the plagal cadence (162), 167; in the deceptive cadence 167; as a secondary dominant 226; as a secondary seventh chord 234; diminished seventh chord on degree IV 236 (see also Subdominant)
Anticipation 402, 413
Suspension 175 (six-four chord as suspension), 381 ff., 402, 403 ff.; free suspension 404 f.; interrupted suspension 405 f.
Dominant of the dominant 143 f., 221 f.; in the pedal point 258 and 260
Neighboring note 223 note, 355 f., 364 f., 402, 406 f., 411 ff.
Turning-point rules 120 f., 122 ff., 151 f. (guidelines); in modulations 195, 205, 254 f., 261 (pedal point); with secondary dominants 216; in the interrupted suspension 406
Repetition of chords 48, 64, 194 f. (in modulations), 364 (in chorales); of tones in the outer voices 91 f., 104, 148 ff.; of successions of tones 104, see Sequence
Second degree in major 35, 162 ff.; see also Dominants of the dominant (144, 221 f.), Secondary seventh chords (233 f.), Secondary dominants (216, 462), Diminished triads, Seventh and Ninth chords, Neapolitan sixth (283 ff.), Augmented four-three, Six-five, and Second chords (296 ff.), and the two unnamed vagrant chords (307 ff.). Diminished seventh chord on degree II: see also 242 and 245; in minor: see Diminished triads in minor. Guidelines for its use: see 151; in cadences worked out within a key 370
Intermediate keys 209 ff., 219, 224, 254, 325 ff. note (see also Secondary dominants)
Twelve-tone series: see Chromatic scale
Page references printed in bold in the original