Elementary Harmony Theory and Practice

by Ottman, Robert W.

• ISBN13: 9780132816106
• ISBN10: 0132816105
• Edition: 5th
• Format: Paperback
• Copyright: 1997-10-13
• Publisher: Pearson

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

Preface	p. ix
Basics I: Pitch on the Staff and the Keyboard; Scales; Key Signatures	p. 1
Pitch on the staff	p. 2
Pitch on the keyboard	p. 4
Intervals: Half steps and whole steps	p. 5
Major scales	p. 7
Scale-degree names	p. 8
Major key signatures	p. 8
Minor scales	p. 10
Scale-degree names in minor	p. 12
Minor key signatures	p. 12
The circle of fifths	p. 12
Relative and parallel keys	p. 13
Scales and keys	p. 14
The "Basics Quiz" #1	p. 15
Basics II: Intervals; Chords; Staff Notation	p. 19
Intervals	p. 20
Spelling ascending intervals	p. 20
Perfect and major intervals
Minor intervals
Diminished intervals
Augmented intervals
Terminology for other intervals	p. 23
Identifying intervals	p. 23
Inversion of intervals	p. 24
Spelling descending intervals	p. 25
Compound intervals	p. 27
Consonance and dissonance	p. 27
Chords	p. 28
Triads	p. 28
Triads in a key	p. 28
Chords larger than a triad	p. 30
Seventh chords	p. 30
Inversion of chords	p. 31
Figured bass	p. 31
Staff notation	p. 33
Basics Quiz #2	p. 35
Pitch Notation from Earliest Times	p. 37
Basics III: Duration, Time Signatures	p. 40
Note and rest values	p. 40
Tempo	p. 41
The beat	p. 42
Grouping of beats	p. 42
Varieties of the beat (simple and compound)	p. 42
Time signature (meter signature)	p. 43
Simple time
Compound time
Other interpretations of time signatures	p. 48
In a fast tempo
In a slow tempo
Numerators of 5 and 7; other numerators
Beaming notes for rhythmic clarity	p. 52
Triplets, duplets, and quadruplets	p. 53
Rhythmic transcription	p. 53
Basics Quiz #3	p. 55
Early Rhythmic Notation	p. 56
What Is Music Theory?	p. 57
Tonic and Dominant I: Cadences	p. 59
The cadence	p. 59
The cadence in relation to form	p. 60
Harmony at the cadence (major keys)	p. 61
Spelling tonic and dominant chords (major keys)	p. 63
The "Difficult" Triad Spellings	p. 65
Cadences incorporating dominant harmony	p. 66
The cadence in minor keys	p. 70
Spelling tonic and dominant triads (minor keys)	p. 71
Cadences incorporating dissonances	p. 72
Other cadences: The Picardy third and the "empty fifth"	p. 74
Cadences in a melodic line	p. 76
Spelling intervals from major triads	p. 77
Triads outlined in melodies	p. 79
Keyboard harmony	p. 79
The Universality of the Cadence	p. 82
Tonic and Dominant II: Part-Writing	p. 83
Conventional procedures	p. 85
Writing a single triad	p. 85
The connection of repeated triads	p. 89
Writing the authentic cadence	p. 91
Writing in phrase lengths	p. 97
Harmonizing a melody	p. 99
Keyboard harmony	p. 100
Melody harmonization using lead sheet symbols	p. 102
The Subdominant Triad	p. 107
Spelling the subdominant triad	p. 107
Plagal cadences	p. 108
IV or iv in other progressions	p. 111
The subdominant triad in melodic writing	p. 115
Writing the progression IV-I or iv-i	p. 116
Writing the progression IV-V or iv-V	p. 119
Parallel fifths and octaves; the melodic augmented second	p. 119
Keyboard harmony	p. 126
The progression I-IV-V-I	p. 128
Melodic harmonization	p. 128
The Three Demons of Part-Writing	p. 130
The Melodic Line I	p. 133
Form	p. 133
The phrase
The period
Repetition and sequence
Pitch	p. 142
Intervals and scale passages
The leading tone
Minor keys: The sixth and seventh scale steps
Harmonic implication	p. 149
Rhythm and meter	p. 153
Melodic composition	p. 154
Some Varieties of Melodic Expression	p. 157
C Clefs; Transposing Clefs	p. 160
C clefs	p. 161
A clef for the tenor voice	p. 165
Transposing instruments	p. 165
Writing for transposing instruments
The Triad in Inversion	p. 169
The triad in first inversion	p. 169
The triad in second inversion	p. 173
The cadential six-four chord
The pedal six-four
The passing six-four
Writing a triad in first inversion	p. 179
Writing to or from a triad in first inversion	p. 181
Writing successive triads in first inversion	p. 184
Writing a triad in second inversion	p. 185
Other part-writing considerations	p. 187
The melodic augmented fourth
Overlapping voices
Hidden octaves and hidden fifths
Melody harmonization	p. 191
Keyboard harmony	p. 194
The Theory of Inversion	p. 196
Figured Bass	p. 202
Harmonic Progression; The Leading-Tone Triad and the Supertonic Triad	p. 205
Root movement	p. 205
Harmonic progression	p. 206
Harmonic progressions in minor keys	p. 207
Other common types of progressions	p. 209
The diminished triad	p. 211
The leading-tone triad	p. 212
The supertonic triads	p. 214
Writing the diminished triad	p. 222
Writing to and from the diminished triad	p. 223
Writing the supertonic triad	p. 225
Melody harmonization	p. 228
Keyboard harmony	p. 229
The Devil in Music	p. 232
Nonharmonic Tones I: Passing Tones and Neighbor Tones	p. 236
Defining nonharmonic tones	p. 236
The passing tone	p. 236
The neighbor tone	p. 240
Writing passing tones and neighbor tones	p. 241
Figured bass symbols
The seventh above the root
Avoiding parallels
Accented nonharmonic tones
Simultaneous nonharmonic tones
Relaxing part-writing procedures to heighten melodic interest	p. 245
Nonharmonic Tones II: Suspensions and Other Dissonances	p. 250
The suspension	p. 251
The 4 3 suspension
The 7 6 suspension
The 9 8 suspension
The 2 3 suspension
Special uses of the suspension	p. 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 tones	p. 261
Retardation
Anticipation
Appoggiatura
Escaped tone
Successive neighbor tones
Pedal
Various other uses of nonharmonic tones	p. 270
Successive different nonharmonic tones
Simultaneous different nonharmonic tones
Unprepared nonharmonic tone
"Consonant" nonharmonic tones
The Dominant Seventh and Supertonic Seventh Chords	p. 278
The seventh as a nonharmonic tone	p. 278
Passing tone figure
Suspension figure
Appoggiatura figure
Upper neighbor figure
Characteristics of the dominant seventh chord	p. 281
The supertonic seventh chord	p. 283
Characteristics of the supertonic seventh chord	p. 284
Intervals in the V[superscript 7] chord	p. 292
The V[superscript 7] chord in the melodic line	p. 292
Keyboard harmony	p. 294
The Submediant and Mediant Triads	p. 296
Root movement by downward thirds	p. 297
Root movement by downward fifths	p. 298
Root movement by seconds; the deceptive cadence	p. 299
The vi-iii-IV progression	p. 303
Inversions of the submediant and mediant triads	p. 305
Writing the submediant and mediant triads	p. 308
Keyboard harmony	p. 317
Melody harmonization	p. 319
The Melodic Line II: Form, continued; Melody Harmonization, continued; Melody Writing	p. 320
Melodic extensions	p. 320
The phrase group and the double period	p. 324
Extension in motivic development	p. 327
Harmonizing a melody without lead sheet symbols	p. 331
Tempo
Harmonic rhythm
Differentiating chord tones and nonharmonic tones
Application to the keyboard	p. 336
Melody writing	p. 339
Another Metrical Concept	p. 343
The v and VII Triads; the Phrygian Cadence	p. 347
The minor dominant triad (v)	p. 347
The subtonic triad (VII)	p. 350
The progression iv-VII	p. 351
The triads vianddeg; and III+	p. 351
Half cadences; the Phrygian cadence	p. 351
Writing the v and VII triads in a minor key	p. 356
Writing the Phrygian cadence	p. 358
Keyboard harmony	p. 364
Harmonic Sequence	p. 366
Sequence: Roots down a fifth and up a fourth	p. 368
Sequence: Roots up a fifth and down a fourth	p. 369
Sequence: Roots down a third and up a fourth	p. 370
Sequence: Roots down a third and up a second	p. 374
Sequence: Roots down a fourth and up a second	p. 375
First inversion in series	p. 376
Writing sequences	p. 381
Summary	p. 383
Secondary Dominant Chords; Elementary Modulation	p. 385
Chromaticism	p. 385
Secondary dominant chords	p. 385
Spelling secondary dominants	p. 388
Use of secondary dominant	p. 389
The Hemiola	p. 391
The deceptive progression	p. 393
Secondary dominant chords in the harmonic sequence	p. 394
The V/V at the cadence	p. 396
Modulation	p. 398
Return to the original key	p. 401
Modulation or secondary dominants in the melodic line	p. 409
Writing secondary dominant chords	p. 411
Keyboard harmony	p. 417
The Essentials of Part-Writing	p. 420
Conventional Procedures
Instrumentation	p. 423
Ranges
Clefs
Transposition
Elementary Acoustics	p. 428
The Medieval Modes	p. 433
Answer Key	p. 438
Index of Compositions	p. 461
Subject Index	p. 465
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