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Tonal harmony

Author: Stefan M Kostka; Dorothy Payne; Byron Almén
Publisher: New York : McGraw-Hill Higher Education ; London : McGraw-Hill [distributor], 2012.
Edition/Format:   Print book : English : 7th edView all editions and formats

A text for the two-year theory curriculum for music majors. Used at nearly 800 schools, it is supported by examples and exercises, and the total presentation is compatible with differing teaching  Read more...


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Document Type: Book
All Authors / Contributors: Stefan M Kostka; Dorothy Payne; Byron Almén
ISBN: 9780078025143 0078025141 9780071318280 0071318283
OCLC Number: 863580561
Notes: Previous edition: 2009.
Includes index.
"International Student Edition"--Cover.
Description: xx, 668 pages ; 26 cm
Contents: 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 SummaryVariations 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 Variations 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 VariationsPart II: Diatonic Triads Chapter 5: Principles of Voice Leading Introduction The Melodic Line Notating Chords Voicing a Singe Triad Parallel Motion Summary VariationsChapter 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 SequencesHarmonizing a Simple Melody Conclusion Summary Chapter 8: Triads in First Inversion Introduction Bass Arpeggiation Substituted First Inversion Triads Inversions in Lead SheetsParallel Sixth Chords Part Writing First Inversion Triads Soprano-Bass Counterpoint Summary VariationsChapter 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 SentenceSummary Chapter 11: Non Chord Tones 1 Introduction Classification of Non-Chord Tones Passing Tones Neighboring Tones Suspensions and Retardations Embellishing a Simple Texture Figured Bass and Lead Sheet Symbols Summary Chapter 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 VariationsPart III: Diatonic Seventh Chords Chapter 13: The V7 Chord Introduction General Voice-Leading Considerations The Approach to the 7thThe V7 in Root PositionThe 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 14: The II7 and VII7 Chords Introduction The II7 Chord The VII7 Chord in Major The VII7 Chord in Minor Summary Chapter 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 Part IV: Chromaticism 1 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 VariationsChapter 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 DesignSonata FormRondo Form Summary VariationsPart V: Chromaticism 2 Chapter 21: Mode Mixture and the NeapolitanIntroduction Borrowed Chords in Minor Borrowed Chords in MajorThe Use of B-Flat 6 Other Borrowed Chords in Major Modulations Involving Mode Mixture and the Neapolitan Summary VariationsChapter 22: Augmented Sixth ChordsThe 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 PositionsSummary VariationsChapter 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 VariationsChapter 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 MediantsMediant Chains and Other CombinationsCounterpoint and Voice LeadingSequences and Other Systematic ProceduresSummary Part IV: An Introduction to Twentieth-Century MusicChapter 26: Materials and TechniquesIntroduction Impressionism Scale Materials The Diatonic Modes Pentatonic ScalesSynthetic ScalesChord Structure Extended Tertian HarmonyPolyharmony Chord/Scale ConnectionsQuartal and Secundal Harmony Other ConceptsParallelismPandiatonicismRhythm and MeterSummaryChapter 27: Post-Tonal TheoryIntroduction Basic Atonal Theory Normal Form Equivalence Relations and Mod 12 Transposition (Tn) and Inversion (TnI) Set Class and Prime Form Interval Vector Twelve-Tone Serialism Integral Serialism Summary Chapter Twenty-Eight: New DirectionsIntroduction Explorations of Texture, Timbre, and Tuning Indeterminacy Minimalism Electronic and Computer Music Summary and Forward Look Appendix A Instrumental Ranges andTranspositions Appendix B Lead-Sheet Symbols Appendix C Set Class List Appendix D Answers to Self-Tests Index of Music Examples Subject Index Appendix C: Index of Music Examples Name Index Subject Index
Responsibility: Stefan Kostka, Dorothy Payne, Byron Almén.


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