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Tonal harmony, with an introduction to twentieth-century music

Author: Stefan M Kostka; Dorothy Payne
Publisher: Boston : McGraw-Hill, ©2004.
Edition/Format:   Print book : English : 5th edView all editions and formats
Summary:

Suitable for music theory courses, this title emphasizes practicality and ease of use for both the student and the instructor. It includes a collection of audio examples on CD and also an  Read more...

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Additional Physical Format: Online version:
Kostka, Stefan M.
Tonal harmony, with an introduction to twentieth-century music.
Boston : McGraw-Hill, ©2004
(OCoLC)639593713
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Stefan M Kostka; Dorothy Payne
ISBN: 0072852607 9780072852608
OCLC Number: 51613969
Notes: Includes indexes.
Description: xvii, 669 pages : illustrations ; 27 cm
Contents: About the authors --
Preface --
To the student --
pt. 1. Fundamentals --
ch. 1. Elements of pitch --
The keyboard and octave registers --
Notation of the staff --
The major scale --
The major key signatures --
Minor key signatures --
Scale degree names --
Intervals --
Perfect, major, and minor intervals --
Inversion of intervals --
Consonant and dissonant intervals --
Summary --
Variations --
ch. 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 --
ch. 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 --
Variations. ch. 4. Diatonic chords in major and minor keys --
Introduction --
The minor scale --
Diatonic triads in major --
Diatonic triads in minor --
Diatonic seventh chords in major --
Diatonic seventh chords in minor --
Summary --
Variations --
pt. 2. Diatonic triads --
ch. 5. Principles of voice leading --
Introduction --
The melodic line --
Notating chords --
Voicing a single triad --
Parallel motion --
Summary --
Variations --
ch. 6. Root position part writing --
Introduction --
Root position part writing with repeated roots --
Four-part textures --
Three-part textures --
Root positions part writing with roots a 4th (5th) apart --
Four-part textures --
Three-part textures --
Root position part writing with roots a 3rd (6th) apart --
Four-part textures --
Three-part textures --
Root position part writing with roots a 2nd (7th) apart --
Four-part textures --
Three-part textures --
Instrument ranges and transpositions --
Summary. ch. 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 --
Harmonizing a simple melody --
Conclusion --
Summary --
ch. 8. Triads in first inversion --
Introduction --
Bass arpeggiation --
Substituted first inversion triads --
Parallel sixth chords --
Part writing first inversion triads --
Four-part textures --
Three-part textures --
Soprano-bass counterpoint --
Summary --
Variations --
ch. 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. ch. 10. Cadences, phrases, and periods --
Musical form --
Cadences --
Cadences and harmonic rhythm --
Motives and phrases --
Mozart : "An die Freude" --
Period forms --
Summary --
ch. 11. Non chord tones 1 --
Introduction --
Classification of non-chord tones --
Passing tones --
Neighboring tones --
Suspensions and retardations --
Figured bass and lead sheet symbols --
Embellishing a simple texture --
Summary --
ch. 12. Non-chord tones 2 --
Appoggiaturas --
Escape tones --
The neighbor group --
Anticipations --
The pedal point --
Special problems in the analysis of non-chord tones --
Summary --
Variations --
pt. 3. Diatonic seventh chords --
ch. 13. The V7 chord --
Introduction --
General voice-leading considerations --
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 --
The approach to the 7th --
Summary --
ch. 14. The II7 and VII7 chords --
Introduction --
The II7 chord --
The VII7 chord in major --
The VII7 chord in minor --
Summary. ch. 15. Other diatonic seventh chords --
The IV7 chord --
The VI7 chord --
The I7 chord --
The III7 chord --
Seventh chords and the circle-of-fifths progression --
Summary --
pt. 4. Chromaticism 1 --
ch. 16. Secondary functions 1 --
Chromaticism and altered chords --
Secondary functions --
Secondary dominant chords --
Spelling secondary dominants --
Recognizing secondary dominants --
Secondary dominants in context --
Summary --
Variations --
ch. 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 --
ch. 18. Modulations using diatonic common chords --
Modulation and change of key --
Modulation and tonicization --
Key relationships --
Common-chord modulation --
Analyzing common-chord modulation --
Summary --
ch. 19. Some other modulatory techniques --
Altered chords as common chords --
Sequential modulation --
Modulation by common tone --
Monophonic modulation --
Direct modulation --
Summary. ch. 20. Binary and ternary forms --
Formal terminology --
Binary forms --
Ternary forms --
Rounded binary forms --
12-bar blues --
Other formal designs --
Summary --
Variations --
pt. 5. Chromaticism 2 --
ch. 21. Mode mixture --
Introduction --
Borrowed chords in minor --
The use of ♭6 in major --
Other borrowed chords in major --
Modulations involving mode mixture --
Summary --
ch. 22. The Neapolitan chord --
Introduction --
Conventional use of the Neapolitan --
Other uses of the Neapolitan --
Summary --
ch. 23. Augmented sixth chords 1 --
The interval of the augmented sixth --
The Italian augmented sixth chord --
The French augmented sixth chord --
The German augmented sixth chord --
Other uses of conventional augmented sixth chords --
Summary --
ch. 24. Augmented sixth chords 2 --
Introduction --
Other bass positions --
Resolutions to other scale degrees --
Resolutions to other chord members --
Other types of augmented sixth chords --
Summary --
ch. 25. Enharmonic spellings and enharmonic modulations --
Enharmonic spellings --
Enharmonic reinterpretation --
Enharmonic modulations using the major-minor seventh sonority --
Enharmonic modulations using the diminished seventh chord --
Summary. ch. 26. Further elements of the harmonic vocabulary --
Introduction --
The dominant with a substituted 6th --
The dominant with a raised 5th --
Ninth, eleventh, and thirteenth chords --
Simultaneities --
Coloristic chord successions --
Summary --
pt. 6. Late Romanticism and the twentieth century --
ch. 26. Tonal harmony in the late nineteenth century --
Introduction --
Counterpoint --
Treatment of dominant harmony --
Sequence --
Expanded tonality --
Summary --
ch. 28. An introduction to twentieth-century practices --
Introduction --
Impressionism --
Scales --
The diatonic church modes --
Pentatonic scales --
Synthetic scales --
Extended tertian harmony --
Extended tertian harmony and lead sheet symbols --
Polyharmony --
Quartal and secundal harmony --
Parallelism --
Rhythm and meter --
Atonal theory --
The twelve-tone serialism --
Total serialization --
Aleatory or chance music --
Texture and expanded instrumental resources --
Electronic 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.
Responsibility: Stefan Kostka, Dorothy Payne.
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