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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. |
| More information: |
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