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Tonal Harmony (Text Only),9780072897821

Tonal Harmony (Text Only)

by Kostka

Edition:

4TH

ISBN13:

9780072897821

ISBN10:

0072897821

Pub. Date:

1/1/2000

Publisher(s):

MCG

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Summary

Designed to meet the needs of the two-year theory curriculum for music majors, this straightforward market-leading text emphasizes practicality and ease of use for both the student and the instructor. Its outstanding ancillaries, which include a collection of audio examples on CD (for both the text and workbook), Finale Workbook Software, and an extensive Instructor's Manual, round out the comprehensive teaching package..

Table of Contents

About the Authors

v

Preface

vii

To the Student

xi

PART I Fundamentals

1

(72)

Elements of Pitch

3

(25)

The Keyboard and Octave Registers

3

(1)

Notation of the Staff

4

(2)

The Major Scale

6

(3)

The Major Key Signatures

9

(4)

Minor Scales

13

(1)

Minor Key Signatures

14

(4)

Scale Degree Names

18

(1)

Intervals

19

(1)

Perfect, Major, and Minor Intervals

20

(3)

Augmented and Diminished Intervals

23

(1)

Inversion of Intervals

23

(1)

Consonant and Dissonant Intervals

24

(1)

Summary

25

(3)

Elements of Rhythm

28

(16)

Rhythm

28

(1)

Durational Symbols

28

(1)

Beat and Tempo

29

(1)

Meter

29

(2)

Division of the Beat

31

(1)

Simple Time Signatures

32

(2)

Compound Time Signatures

34

(3)

Time Signatures Summarized

37

(1)

More on Durational Symbols

38

(2)

Summary

40

(4)

Introduction to Triads and Seventh Chords

44

(17)

Introduction

44

(1)

Triads

44

(3)

Seventh Chords

47

(2)

Inversions of Chords

49

(1)

Inversion Symbols and Figured Bass

50

(2)

Lead Sheet Symbols

52

(3)

Recognizing Chords in Various Textures

55

(2)

Summary

57

(4)

Diatonic Chords in Major and Minor Keys

61

(12)

Introduction

61

(1)

The Minor Scale

61

(2)

Diatonic Triads in Major

63

(1)

Diatonic Triads in Minor

64

(4)

Diatonic Seventh Chords in Major

68

(1)

Diatonic Seventh Chords in Minor

69

(1)

Summary

70

(3)

PART II Diatonic Triads

73

(132)

Principles of Voice Leading

75

(15)

Introduction

75

(1)

The Melodic Line

75

(3)

Notating Chords

78

(1)

Voicing a Single Triad

78

(4)

Parallel Motion

82

(5)

Summary

87

(3)

Root Position Part Writing

90

(15)

Introduction

90

(1)

Root Position Part Writing with Repeated Roots

91

(1)

Four-Part Textures

91

(1)

Three-Part Textures

91

(1)

Root Position Part Writing with Roots a 4th (5th) Apart

92

(3)

Four-Part Textures

92

(2)

Three-Part Textures

94

(1)

Root Position Part Writing with Roots a 3rd (6th) Apart

95

(2)

Four-Part Textures

95

(1)

Three-Part Textures

96

(1)

Root Position Part Writing with Roots a 2nd (7th) Apart

97

(4)

Four-Part Textures

97

(1)

Three-Part Textures

98

(3)

Instrumental Ranges and Transpositions

101

(1)

Summary

102

(3)

Harmonic Progression

105

(19)

Introduction

105

(1)

Sequences and the Circle of Fifths

105

(4)

The I and V Chords

109

(1)

The II Chord

110

(1)

The VI Chord

111

(1)

The III Chord

112

(1)

The VII Chord

113

(1)

The IV Chord

114

(2)

Common Exceptions

116

(1)

Differences in the Minor Mode

116

(1)

Progressions Involving Seventh Chords

117

(1)

Harmonizing a Simple Melody

117

(1)

Conclusion

118

(1)

Summary

119

(5)

Triads in First Inversion

124

(20)

Introduction

124

(1)

Bass Arpeggiation

125

(1)

Substituted First Inversion Triads

126

(2)

Parallel Sixth Chords

128

(2)

Part Writing First Inversion Triads

130

(3)

Four-Part Textures

130

(2)

Three-Part Textures

132

(1)

Soprano-Bass Counterpoint

133

(5)

Summary

138

(6)

Triads in Second Inversion

144

(12)

Introduction

144

(1)

Bass Arpeggiation and the Melodic Bass

145

(1)

The Cadential Six-Four

146

(3)

The Passing Six-Four

149

(2)

The Pedal Six-Four

151

(1)

Part Writing for Second Inversion Triads

152

(1)

Summary

153

(3)

Cadences, Phrases, and Periods

156

(21)

Musical Form

156

(1)

Cadences

156

(5)

Cadences and Harmonic Rhythm

161

(1)

Motives and Phrases

162

(2)

Mozart: ``An die Freude''

164

(7)

Summary

171

(6)

Non-Chord Tones 1

177

(16)

Introduction

177

(1)

Classification of Non-Chord Tones

178

(1)

Passing Tones

179

(2)

Neighboring Tones

181

(1)

Suspensions and Retardations

182

(4)

Figured Bass and Lead Sheet Symbols

186

(1)

Embellishing a Simple Texture

187

(2)

Summary

189

(4)

Non-Chord Tones 2

193

(12)

Appoggiaturas

193

(2)

Escape Tones

195

(1)

The Neighbor Group

195

(1)

Anticipations

196

(1)

The Pedal Point

197

(2)

Special Problems in the Analysis of Non-Chord Tones

199

(2)

Summary

201

(4)

PART III Diatonic Seventh Chords

205

(50)

The V7 Chord

207

(19)

Introduction

207

(1)

General Voice-Leading Considerations

207

(2)

The V7 in Root Position

209

(3)

The V7 in Three Parts

212

(1)

Other Resolutions of the V7

213

(4)

The Inverted V7 Chord

217

(1)

The V65 Chord

218

(1)

The V43 Chord

219

(1)

The V42 Chord

220

(1)

The Approach to the Seventh

221

(1)

Summary

222

(4)

The II7 and VII7 Chords

226

(15)

Introduction

226

(1)

The II7 Chord

227

(2)

The VII7 Chord in Major

229

(2)

The VII7 Chord in Minor

231

(4)

Summary

235

(6)

Other Diatonic Seventh Chords

241

(14)

The IV7 Chord

241

(2)

The VI7 Chord

243

(3)

The I7 Chord

246

(1)

The III7 Chord

247

(1)

Seventh Chords and the Circle-of-Fifths Progression

248

(2)

Summary

250

(5)

PART IV Chromaticism 1

255

(98)

Secondary Functions 1

257

(18)

Chromaticism and Altered Chords

257

(1)

Secondary Functions

258

(1)

Secondary Dominant Chords

258

(2)

Spelling Secondary Dominants

260

(1)

Recognizing Secondary Dominants

261

(1)

Secondary Dominants in Context

262

(4)

Summary

266

(9)

Secondary Functions 2

275

(25)

Secondary Leading-Tone Chords

275

(1)

Spelling Secondary Leading-Tone Chords

276

(1)

Recognizing Secondary Leading-Tone Chords

277

(1)

Secondary Leading-Tone Chords in Context

278

(6)

Sequences Involving Secondary Functions

284

(4)

Deceptive Resolutions of Secondary Functions

288

(2)

Other Secondary Functions

290

(3)

Summary

293

(7)

Modulations Using Diatonic Common Chords

300

(17)

Modulation and Change of Key

300

(1)

Modulation and Tonicization

300

(2)

Key Relationships

302

(2)

Common-Chord Modulation

304

(2)

Analyzing Common-Chord Modulation

306

(4)

Summary

310

(7)

Some Other Modulatory Techniques

317

(18)

Altered Chords as Common Chords

317

(1)

Sequential Modulation

318

(3)

Modulation by Common Tone

321

(5)

Monophonic Modulation

326

(1)

Direct Modulation

327

(2)

Summary

329

(6)

Binary and Ternary Forms

335

(18)

Formal Terminology

335

(1)

Binary Forms

335

(3)

Ternary Forms

338

(3)

Rounded Binary Forms

341

(2)

12-Bar Blues

343

(1)

Other Formal Designs

344

(3)

Summary

347

(6)

PART V Chromaticism 2

353

(104)

Mode Mixture

355

(16)

Introduction

355

(1)

Borrowed Chords in Minor

355

(1)

The Use of ♭6 in Major

356

(2)

Other Borrowed Chords in Major

358

(4)

Modulations Involing Mode Mixture

362

(1)

Summary

363

(8)

The Neapolitan Chord

371

(14)

Introduction

371

(1)

Conventional Use of the Neapolitan

371

(3)

Other Uses of the Neapolitan

374

(5)

Summary

379

(6)

Augmented Sixth Chords 1

385

(17)

The Interval of the Augmented Sixth

385

(1)

The Italian Augmented Sixth Chord

386

(1)

The French Augmented Sixth Chord

387

(2)

The German Augmented Sixth Chord

389

(3)

Other Uses of Conventional Augmented Sixth Chords

392

(2)

Summary

394

(8)

Augmented Sixth Chords 2

402

(11)

Introduction

402

(1)

Other Bass Positions

402

(2)

Resolutions to Tonic

404

(1)

Resolutions to Other Scale Degrees

405

(2)

Resolutions to Other Chord Members

407

(1)

Other Types of Augmented Sixth Chords

408

(1)

Summary

409

(4)

Enharmonic Spellings and Enharmonic Modulations

413

(17)

Enharmonic Spellings

413

(2)

Enharmonic Reinterpretation

415

(2)

Enharmonic Modulations Using the Major-Minor Seventh Sonority

417

(1)

Enharmonic Modulations Using the Diminished Seventh Chord

418

(3)

Other Examples of Enharmonicism

421

(1)

Summary

422

(8)

Further Elements of the Harmonic Vocabulary

430

(27)

Introduction

430

(1)

The Dominant with a Substituted 6th

430

(3)

The Dominant with a Raised 5th

433

(3)

Ninth, Eleventh, and Thirteenth Chords

436

(2)

The Common-Tone Diminished Seventh Chord

438

(7)

Simulataneities

445

(2)

Coloristic Chord Successions

447

(2)

Summary

449

(8)

PART VI Late Romanticism and the Twentieth Century

457

(112)

Tonal Harmony in the Late Nineteenth Century

459

(31)

Introduction

459

(1)

Counterpoint

460

(6)

Treatment of Dominant Harmony

466

(3)

Sequence

469

(3)

Expanded Tonality

472

(8)

Summary

480

(10)

An Introduction to Twentieth-Century Practices

490

(79)

Introduction

490

(1)

Impressionism

491

(1)

Scales

492

(10)

Chord Structure

502

(8)

Parallelism

510

(4)

Pandiatonicism

514

(6)

Rhythm and Meter

520

(9)

Set Theory

529

(6)

The Twelve-Tone Technique

535

(13)

Total Serialization

548

(3)

Aleatory or Chance Music

551

(6)

Texture and Expanded Instrumental Resources

557

(3)

Electronic Music

560

(6)

Summary and Forward Look

566

(3)

Appendix A Instrumental Ranges and Transpositions

569

(2)

Appendix B Answers to Self-Tests

571

(102)

Index of Music Examples

673

(3)

Subject Index

676

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