9780132816106

Elementary Harmony Theory and Practice

by
  • ISBN13:

    9780132816106

  • ISBN10:

    0132816105

  • Edition: 5th
  • Format: Paperback
  • Copyright: 1997-10-13
  • Publisher: Pearson
  • View Upgraded Edition

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Supplemental Materials

What is included with this book?

Summary

The Fifth Edition of Robert Ottman's Elementary Harmony continues to present a thorough introduction to harmony with continuous step-by-step development and review of concepts and skills. Changes throughout simplify instructor presentations and effect rapid student assimilation of subject matter. Book jacket.

Table of Contents

Prefacep. ix
Basics I: Pitch on the Staff and the Keyboard; Scales; Key Signaturesp. 1
Pitch on the staffp. 2
Pitch on the keyboardp. 4
Intervals: Half steps and whole stepsp. 5
Major scalesp. 7
Scale-degree namesp. 8
Major key signaturesp. 8
Minor scalesp. 10
Scale-degree names in minorp. 12
Minor key signaturesp. 12
The circle of fifthsp. 12
Relative and parallel keysp. 13
Scales and keysp. 14
The "Basics Quiz" #1p. 15
Basics II: Intervals; Chords; Staff Notationp. 19
Intervalsp. 20
Spelling ascending intervalsp. 20
Perfect and major intervals
Minor intervals
Diminished intervals
Augmented intervals
Terminology for other intervalsp. 23
Identifying intervalsp. 23
Inversion of intervalsp. 24
Spelling descending intervalsp. 25
Compound intervalsp. 27
Consonance and dissonancep. 27
Chordsp. 28
Triadsp. 28
Triads in a keyp. 28
Chords larger than a triadp. 30
Seventh chordsp. 30
Inversion of chordsp. 31
Figured bassp. 31
Staff notationp. 33
Basics Quiz #2p. 35
Pitch Notation from Earliest Timesp. 37
Basics III: Duration, Time Signaturesp. 40
Note and rest valuesp. 40
Tempop. 41
The beatp. 42
Grouping of beatsp. 42
Varieties of the beat (simple and compound)p. 42
Time signature (meter signature)p. 43
Simple time
Compound time
Other interpretations of time signaturesp. 48
In a fast tempo
In a slow tempo
Numerators of 5 and 7; other numerators
Beaming notes for rhythmic clarityp. 52
Triplets, duplets, and quadrupletsp. 53
Rhythmic transcriptionp. 53
Basics Quiz #3p. 55
Early Rhythmic Notationp. 56
What Is Music Theory?p. 57
Tonic and Dominant I: Cadencesp. 59
The cadencep. 59
The cadence in relation to formp. 60
Harmony at the cadence (major keys)p. 61
Spelling tonic and dominant chords (major keys)p. 63
The "Difficult" Triad Spellingsp. 65
Cadences incorporating dominant harmonyp. 66
The cadence in minor keysp. 70
Spelling tonic and dominant triads (minor keys)p. 71
Cadences incorporating dissonancesp. 72
Other cadences: The Picardy third and the "empty fifth"p. 74
Cadences in a melodic linep. 76
Spelling intervals from major triadsp. 77
Triads outlined in melodiesp. 79
Keyboard harmonyp. 79
The Universality of the Cadencep. 82
Tonic and Dominant II: Part-Writingp. 83
Conventional proceduresp. 85
Writing a single triadp. 85
The connection of repeated triadsp. 89
Writing the authentic cadencep. 91
Writing in phrase lengthsp. 97
Harmonizing a melodyp. 99
Keyboard harmonyp. 100
Melody harmonization using lead sheet symbolsp. 102
The Subdominant Triadp. 107
Spelling the subdominant triadp. 107
Plagal cadencesp. 108
IV or iv in other progressionsp. 111
The subdominant triad in melodic writingp. 115
Writing the progression IV-I or iv-ip. 116
Writing the progression IV-V or iv-Vp. 119
Parallel fifths and octaves; the melodic augmented secondp. 119
Keyboard harmonyp. 126
The progression I-IV-V-Ip. 128
Melodic harmonizationp. 128
The Three Demons of Part-Writingp. 130
The Melodic Line Ip. 133
Formp. 133
The phrase
The period
Repetition and sequence
Pitchp. 142
Intervals and scale passages
The leading tone
Minor keys: The sixth and seventh scale steps
Harmonic implicationp. 149
Rhythm and meterp. 153
Melodic compositionp. 154
Some Varieties of Melodic Expressionp. 157
C Clefs; Transposing Clefsp. 160
C clefsp. 161
A clef for the tenor voicep. 165
Transposing instrumentsp. 165
Writing for transposing instruments
The Triad in Inversionp. 169
The triad in first inversionp. 169
The triad in second inversionp. 173
The cadential six-four chord
The pedal six-four
The passing six-four
Writing a triad in first inversionp. 179
Writing to or from a triad in first inversionp. 181
Writing successive triads in first inversionp. 184
Writing a triad in second inversionp. 185
Other part-writing considerationsp. 187
The melodic augmented fourth
Overlapping voices
Hidden octaves and hidden fifths
Melody harmonizationp. 191
Keyboard harmonyp. 194
The Theory of Inversionp. 196
Figured Bassp. 202
Harmonic Progression; The Leading-Tone Triad and the Supertonic Triadp. 205
Root movementp. 205
Harmonic progressionp. 206
Harmonic progressions in minor keysp. 207
Other common types of progressionsp. 209
The diminished triadp. 211
The leading-tone triadp. 212
The supertonic triadsp. 214
Writing the diminished triadp. 222
Writing to and from the diminished triadp. 223
Writing the supertonic triadp. 225
Melody harmonizationp. 228
Keyboard harmonyp. 229
The Devil in Musicp. 232
Nonharmonic Tones I: Passing Tones and Neighbor Tonesp. 236
Defining nonharmonic tonesp. 236
The passing tonep. 236
The neighbor tonep. 240
Writing passing tones and neighbor tonesp. 241
Figured bass symbols
The seventh above the root
Avoiding parallels
Accented nonharmonic tones
Simultaneous nonharmonic tones
Relaxing part-writing procedures to heighten melodic interestp. 245
Nonharmonic Tones II: Suspensions and Other Dissonancesp. 250
The suspensionp. 251
The 4 3 suspension
The 7 6 suspension
The 9 8 suspension
The 2 3 suspension
Special uses of the suspensionp. 257
Change of bass note
The ornamental resolution
Suspensions in the six-four chord
Chain suspensions
The double suspension
Suspensions in instrumental writing
Other nonharmonic tonesp. 261
Retardation
Anticipation
Appoggiatura
Escaped tone
Successive neighbor tones
Pedal
Various other uses of nonharmonic tonesp. 270
Successive different nonharmonic tones
Simultaneous different nonharmonic tones
Unprepared nonharmonic tone
"Consonant" nonharmonic tones
The Dominant Seventh and Supertonic Seventh Chordsp. 278
The seventh as a nonharmonic tonep. 278
Passing tone figure
Suspension figure
Appoggiatura figure
Upper neighbor figure
Characteristics of the dominant seventh chordp. 281
The supertonic seventh chordp. 283
Characteristics of the supertonic seventh chordp. 284
Intervals in the V[superscript 7] chordp. 292
The V[superscript 7] chord in the melodic linep. 292
Keyboard harmonyp. 294
The Submediant and Mediant Triadsp. 296
Root movement by downward thirdsp. 297
Root movement by downward fifthsp. 298
Root movement by seconds; the deceptive cadencep. 299
The vi-iii-IV progressionp. 303
Inversions of the submediant and mediant triadsp. 305
Writing the submediant and mediant triadsp. 308
Keyboard harmonyp. 317
Melody harmonizationp. 319
The Melodic Line II: Form, continued; Melody Harmonization, continued; Melody Writingp. 320
Melodic extensionsp. 320
The phrase group and the double periodp. 324
Extension in motivic developmentp. 327
Harmonizing a melody without lead sheet symbolsp. 331
Tempo
Harmonic rhythm
Differentiating chord tones and nonharmonic tones
Application to the keyboardp. 336
Melody writingp. 339
Another Metrical Conceptp. 343
The v and VII Triads; the Phrygian Cadencep. 347
The minor dominant triad (v)p. 347
The subtonic triad (VII)p. 350
The progression iv-VIIp. 351
The triads vianddeg; and III+p. 351
Half cadences; the Phrygian cadencep. 351
Writing the v and VII triads in a minor keyp. 356
Writing the Phrygian cadencep. 358
Keyboard harmonyp. 364
Harmonic Sequencep. 366
Sequence: Roots down a fifth and up a fourthp. 368
Sequence: Roots up a fifth and down a fourthp. 369
Sequence: Roots down a third and up a fourthp. 370
Sequence: Roots down a third and up a secondp. 374
Sequence: Roots down a fourth and up a secondp. 375
First inversion in seriesp. 376
Writing sequencesp. 381
Summaryp. 383
Secondary Dominant Chords; Elementary Modulationp. 385
Chromaticismp. 385
Secondary dominant chordsp. 385
Spelling secondary dominantsp. 388
Use of secondary dominantp. 389
The Hemiolap. 391
The deceptive progressionp. 393
Secondary dominant chords in the harmonic sequencep. 394
The V/V at the cadencep. 396
Modulationp. 398
Return to the original keyp. 401
Modulation or secondary dominants in the melodic linep. 409
Writing secondary dominant chordsp. 411
Keyboard harmonyp. 417
The Essentials of Part-Writingp. 420
Conventional Procedures
Instrumentationp. 423
Ranges
Clefs
Transposition
Elementary Acousticsp. 428
The Medieval Modesp. 433
Answer Keyp. 438
Index of Compositionsp. 461
Subject Indexp. 465
Table of Contents provided by Syndetics. All Rights Reserved.

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