Stefan Kostka and Dorothy Payne and Byron Almén
Tonal Harmony
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ISBN10: 1259686787 | ISBN13: 9781259686788
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ISBN10: 1259692973 | ISBN13: 9781259692970
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ISBN10: 125944709X | ISBN13: 9781259447099
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The estimated amount of time this product will be on the market is based on a number of factors, including faculty input to instructional design and the prior revision cycle and updates to academic research-which typically results in a revision cycle ranging from every two to four years for this product. Pricing subject to change at any time.
Program Details
Part I: Fundamentals
Chapter 1: Elements of Pitch
The Keyboard and Octave Registers
Notation of the Staff
The Major Scale
The Major Key Signatures
Minor Scale
Minor Key Signatures
Scale Degree Names
Intervals
Perfect, Major, and Minor Intervals
Augmented and Diminished Intervals
Inversion of Intervals
Consonant and Dissonant Intervals
Summary
Variations
Chapter 2: Elements of Rhythm
Rhythm
Durational Symbols
Beat and Tempo
Meter
Division of the Beat
Simple Time Signatures
Compound Time Signatures
Time Signatures Summarized
More on Durational Symbols
Summary
Variations
Chapter 3: Introduction to Triads and Seventh Chords
Introduction
Triads
Seventh Chords
Inversions of Chords
Inversion Symbols and Figured Bass
Lead Sheet Symbols
Recognizing Chords in Various Textures
Summary
Chapter 4: Diatonic Chords in Major and Minor Keys
Introduction
Diatonic Triads in Major
The Minor Scale
Diatonic Triads in Minor
Diatonic Seventh Chords in Major
Diatonic Seventh Chords in Minor
Summary
Part II: Diatonic Triads
Chapter 5: Principles of Voice Leading
Introduction
The Melodic Line
Notating Chords
Voicing a Singe Triad
Parallel Motion
Summary
Chapter 6: Root Position Part Writing
Introduction
Root Position Part Writing with Repeated Roots
Root Position Part Writing with Roots a 4th (5th) Apart
Root Position Part Writing with Roots a 3rd (6th) Apart
Root Position Part Writing with Roots a 2nd (7th) Apart
Instrumental Ranges and Transpositions
Summary
Chapter 7: Harmonic Progression
Introduction
Sequences and the Circle of Fifths
The I and V Chords
The II Chord
The VI Chord
The III Chord
The VII Chord
The IV Chord
Common Exceptions
Differences in the Minor Mode
Progressions Involving Seventh Chords
More About Harmonic Sequences
Harmonizing a Simple Melody
Conclusion
Summary
Chapter 8: Triads in First Inversion
Introduction
Bass Arpeggiation
Substituted First Inversion Triads
Inversions in Lead Sheets
Parallel Sixth Chords
Part Writing First Inversion Triads
Soprano-Bass Counterpoint
Summary
Chapter 9: Triads in Second Inversion
Introduction
Bass Arpeggiation and the Melodic Bass
The Cadential Six-Four
The Passing Six-Four
The Pedal Six-Four
Part Writing for Second Inversion Triads
Summary
Chapter 10: Cadences, Phrases, Periods, and Sentences
Musical Form
Cadences
Cadences and Harmonic Rhythm
Motives and Phrases
Mozart: “An die Freude”
Period Forms
The Sentence
Summary
Chapter 11: Two-Part Tonal Counterpoint
Introduction
Composing an Unembellished Bass Line
Composing a Counterpoint to the Bass Line
Composing the Contrapuntal Voice
Writing Your Own Harmonic Progressions
Summary
Chapter 12: Non-Chord Tones 1
Introduction
Classification of Non-Chord Tones
Passing Tones
Contrapuntal Considerations
Embellished Cadences
Embellishing versus Composing
Neighboring Tones
Suspensions and Retardations
Embellishing a Simple Texture
Figured Bass and Lead Sheet Symbols
Summary
Chapter 13: Nonchord Tones 2
Appoggiaturas
Escape Tones
The Neighbor Group
Anticipations
The Pedal Point
Special Problems in the Analysis of Non-Chord Tones
Summary
Part III: Diatonic Seventh Chords
Chapter 14: The V7 Chord
Introduction
General Voice-Leading Considerations
The Approach to the 7th
The V7 in Root Position
The V7 in Three Parts
Other Resolutions of the V7
The Inverted V7 Chord
The V6/5 Chord
The V4/3 Chord
The V4/2 Chord
Summary
Chapter 15: Other Diatonic Seventh Chords
Introduction
The II7 Chord
The VII7 Chord in Major
The VII7 Chord in Minor
The IV7 Chord
The VI7 Chord
The I7 Chord
The III7 Chord
Seventh Chords and the Circle-of -Fifths
Summary
Part IV: Chromaticism
Chapter 16: Secondary Functions 1
Chromaticism and Altered Chords
Secondary Functions and Tonicization
Secondary Dominant Chords
Spelling Secondary Dominants
Recognizing Secondary Dominants
Secondary Dominants in Context
Summary
Chapter 17: Secondary Functions 2
Secondary Leading-Tone Chords
Spelling Secondary Leading-Tone Chords
Recognizing Secondary Leading-Tone Chords
Secondary Leading-Tone Chords in Context
Sequences Involving Secondary Functions
Deceptive Resolutions of Secondary Functions
Other Secondary Functions
Summary
Chapter 18: Modulations Using Diatonic Common Chords
Modulation and Change of Key
Modulation and Tonicization
Key Relationships
Common-Chord Modulation
Analyzing Common-Chord Modulation
Summary
Chapter 19: Some Other Modulatory Techniques
Altered Chords as Common Chords
Sequential Modulation
Modulation by Common Tone
Monophonic Modulation
Direct Modulation
Summary
Chapter 20: Binary and Ternary Forms
Formal Terminology
Binary Forms
Ternary Forms
Rounded Binary Forms
12-Bar Blues
Other Forms with a Ternary Design
Sonata Form
Rondo Form
Summary
Part V: Chromaticism 2
Chapter 21: Mode Mixture and the Neapolitan
Introduction
Borrowed Chords in Minor
Borrowed Chords in Major: The Use of B-Flat 6
Other Borrowed Chords in Major
Modulations Involving Mode Mixture and the Neapolitan
Summary
Chapter 22: Augmented Sixth Chords
The Interval of the Augmented Sixth
The Italian Augmented Sixth Chord
The French Augmented Sixth Chord
The German Augmented Sixth Chord
Other Uses of the Conventional Augmented Sixth Chords
Other Bass Positions
Resolutions to Other Scale Degrees
Summary
Variations
Chapter 23: Enharmonic Spellings and Enharmonic Modulations
Enharmonic Spellings
Enharmonic Reinterpretation
Enharmonic Modulations Using the Major-Minor Seventh Sonority
Enharmonic Modulations Using the Diminished Seventh Chord
Other Examples of Enharmonicism
Summary
Chapter 24: Further Elements of the Harmonic Vocabulary
Introduction
The Dominant with a Substituted 6th
The Dominant with a Raised 5th
Ninth, Eleventh, and Thirteenth Chords
The Common-Tone Diminished Seventh Chord
Simultaneities
Coloristic Chord Progressions
Summary
Chapter 25: Tonal Harmony in the Late Nineteenth Century
Introduction
More About Mediants
Mediant Chains and Other Combinations
Counterpoint and Voice Leading
Sequences and Other Systematic Procedures
Summary
Part VI: An Introduction to Twentieth-Century Music
Chapter 26: Materials and Techniques
Introduction
Impressionism
Scale Materials
Chord Structure
Other Concepts
Rhythm and Meter
Summary
Chapter 27: Post-Tonal Theory
Introduction
Basic Atonal Theory
Twelve-Tone Serialism
Integral Serialism
Summary
Chapter Twenty-Eight: New Directions
Introduction
Explorations of Texture, Timbre, and Tuning
Indeterminacy
Minimalism
Electronic and Computer Music
Summary and Forward Look
Appendix A Instrumental Ranges and Transpositions
Appendix B Lead-Sheet Symbols
Appendix C Set Class List
Appendix D Answers to Self-Tests
Index of Music Examples
Subject Index
Part I: Fundamentals
Chapter 1: Elements of Pitch
The Keyboard and Octave Registers
Notation of the Staff
The Major Scale
The Major Key Signatures
Minor Scale
Minor Key Signatures
Scale Degree Names
Intervals
Perfect, Major, and Minor Intervals
Augmented and Diminished Intervals
Inversion of Intervals
Consonant and Dissonant Intervals
Summary
Variations
Chapter 2: Elements of Rhythm
Rhythm
Durational Symbols
Beat and Tempo
Meter
Division of the Beat
Simple Time Signatures
Compound Time Signatures
Time Signatures Summarized
More on Durational Symbols
Summary
Variations
Chapter 3: Introduction to Triads and Seventh Chords
Introduction
Triads
Seventh Chords
Inversions of Chords
Inversion Symbols and Figured Bass
Lead Sheet Symbols
Recognizing Chords in Various Textures
Summary
Chapter 4: Diatonic Chords in Major and Minor Keys
Introduction
Diatonic Triads in Major
The Minor Scale
Diatonic Triads in Minor
Diatonic Seventh Chords in Major
Diatonic Seventh Chords in Minor
Summary
Part II: Diatonic Triads
Chapter 5: Principles of Voice Leading
Introduction
The Melodic Line
Notating Chords
Voicing a Singe Triad
Parallel Motion
Summary
Chapter 6: Root Position Part Writing
Introduction
Root Position Part Writing with Repeated Roots
Root Position Part Writing with Roots a 4th (5th) Apart
Root Position Part Writing with Roots a 3rd (6th) Apart
Root Position Part Writing with Roots a 2nd (7th) Apart
Instrumental Ranges and Transpositions
Summary
Chapter 7: Harmonic Progression
Introduction
Sequences and the Circle of Fifths
The I and V Chords
The II Chord
The VI Chord
The III Chord
The VII Chord
The IV Chord
Common Exceptions
Differences in the Minor Mode
Progressions Involving Seventh Chords
More About Harmonic Sequences
Harmonizing a Simple Melody
Conclusion
Summary
Chapter 8: Triads in First Inversion
Introduction
Bass Arpeggiation
Substituted First Inversion Triads
Inversions in Lead Sheets
Parallel Sixth Chords
Part Writing First Inversion Triads
Soprano-Bass Counterpoint
Summary
Chapter 9: Triads in Second Inversion
Introduction
Bass Arpeggiation and the Melodic Bass
The Cadential Six-Four
The Passing Six-Four
The Pedal Six-Four
Part Writing for Second Inversion Triads
Summary
Chapter 10: Cadences, Phrases, Periods, and Sentences
Musical Form
Cadences
Cadences and Harmonic Rhythm
Motives and Phrases
Mozart: “An die Freude”
Period Forms
The Sentence
Summary
Chapter 11: Two-Part Tonal Counterpoint
Introduction
Composing an Unembellished Bass Line
Composing a Counterpoint to the Bass Line
Composing the Contrapuntal Voice
Writing Your Own Harmonic Progressions
Summary
Chapter 12: Non-Chord Tones 1
Introduction
Classification of Non-Chord Tones
Passing Tones
Contrapuntal Considerations
Embellished Cadences
Embellishing versus Composing
Neighboring Tones
Suspensions and Retardations
Embellishing a Simple Texture
Figured Bass and Lead Sheet Symbols
Summary
Chapter 13: Nonchord Tones 2
Appoggiaturas
Escape Tones
The Neighbor Group
Anticipations
The Pedal Point
Special Problems in the Analysis of Non-Chord Tones
Summary
Part III: Diatonic Seventh Chords
Chapter 14: The V7 Chord
Introduction
General Voice-Leading Considerations
The Approach to the 7th
The V7 in Root Position
The V7 in Three Parts
Other Resolutions of the V7
The Inverted V7 Chord
The V6/5 Chord
The V4/3 Chord
The V4/2 Chord
Summary
Chapter 15: Other Diatonic Seventh Chords
Introduction
The II7 Chord
The VII7 Chord in Major
The VII7 Chord in Minor
The IV7 Chord
The VI7 Chord
The I7 Chord
The III7 Chord
Seventh Chords and the Circle-of -Fifths
Summary
Part IV: Chromaticism
Chapter 16: Secondary Functions 1
Chromaticism and Altered Chords
Secondary Functions and Tonicization
Secondary Dominant Chords
Spelling Secondary Dominants
Recognizing Secondary Dominants
Secondary Dominants in Context
Summary
Chapter 17: Secondary Functions 2
Secondary Leading-Tone Chords
Spelling Secondary Leading-Tone Chords
Recognizing Secondary Leading-Tone Chords
Secondary Leading-Tone Chords in Context
Sequences Involving Secondary Functions
Deceptive Resolutions of Secondary Functions
Other Secondary Functions
Summary
Chapter 18: Modulations Using Diatonic Common Chords
Modulation and Change of Key
Modulation and Tonicization
Key Relationships
Common-Chord Modulation
Analyzing Common-Chord Modulation
Summary
Chapter 19: Some Other Modulatory Techniques
Altered Chords as Common Chords
Sequential Modulation
Modulation by Common Tone
Monophonic Modulation
Direct Modulation
Summary
Chapter 20: Binary and Ternary Forms
Formal Terminology
Binary Forms
Ternary Forms
Rounded Binary Forms
12-Bar Blues
Other Forms with a Ternary Design
Sonata Form
Rondo Form
Summary
Part V: Chromaticism 2
Chapter 21: Mode Mixture and the Neapolitan
Introduction
Borrowed Chords in Minor
Borrowed Chords in Major: The Use of B-Flat 6
Other Borrowed Chords in Major
Modulations Involving Mode Mixture and the Neapolitan
Summary
Chapter 22: Augmented Sixth Chords
The Interval of the Augmented Sixth
The Italian Augmented Sixth Chord
The French Augmented Sixth Chord
The German Augmented Sixth Chord
Other Uses of the Conventional Augmented Sixth Chords
Other Bass Positions
Resolutions to Other Scale Degrees
Summary
Variations
Chapter 23: Enharmonic Spellings and Enharmonic Modulations
Enharmonic Spellings
Enharmonic Reinterpretation
Enharmonic Modulations Using the Major-Minor Seventh Sonority
Enharmonic Modulations Using the Diminished Seventh Chord
Other Examples of Enharmonicism
Summary
Chapter 24: Further Elements of the Harmonic Vocabulary
Introduction
The Dominant with a Substituted 6th
The Dominant with a Raised 5th
Ninth, Eleventh, and Thirteenth Chords
The Common-Tone Diminished Seventh Chord
Simultaneities
Coloristic Chord Progressions
Summary
Chapter 25: Tonal Harmony in the Late Nineteenth Century
Introduction
More About Mediants
Mediant Chains and Other Combinations
Counterpoint and Voice Leading
Sequences and Other Systematic Procedures
Summary
Part VI: An Introduction to Twentieth-Century Music
Chapter 26: Materials and Techniques
Introduction
Impressionism
Scale Materials
Chord Structure
Other Concepts
Rhythm and Meter
Summary
Chapter 27: Post-Tonal Theory
Introduction
Basic Atonal Theory
Twelve-Tone Serialism
Integral Serialism
Summary
Chapter Twenty-Eight: New Directions
Introduction
Explorations of Texture, Timbre, and Tuning
Indeterminacy
Minimalism
Electronic and Computer Music
Summary and Forward Look
Appendix A Instrumental Ranges and Transpositions
Appendix B Lead-Sheet Symbols
Appendix C Set Class List
Appendix D Answers to Self-Tests
Index of Music Examples
Subject Index
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