Harmonic Materials in Tonal Music: A Programed Course, Part I

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  • Edition: 9th
  • Format: Paperback
  • Copyright: 2002-01-01
  • Publisher: Prentice Hall
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This self-paced, auto-instructional book in two volumes has become a ";classic"; in the field of music. A wealth of clearly laid-out lessons and exercises provide learners with continual feedback and reinforcement as they work through the activities and assignments at their own pace. Chapter topics include some definitions, the structure of tonality, triads in root position: doubling and spacing, triads in root position: voice leading, triads in first and second inversion, introduction to seventh chords and the dominant seventh, phrase structure and cadences, nonharmonic tones, harmonic progression, and the technique of harmonization. For music studio teachers and students, and use in preparatory music programs.

Table of Contents

Part I: 1. Some Definitions.
2. The Structure of Tonality.
3. Triads in Root Position: Doubling and Spacing.
4. Triads in Root Position: Voice Leading.
5. Triads in First and Second Inversion.
6. Introduction to Seventh Chords and the Dominant Seventh.
7. Phrase Structure and Cadences.
8. Nonharmonic Tones.
9. Harmonic Progression.
10. The Technique of Harmonization.
Appendix A: Chord Symbols.
Appendix B: Piano Styles.
Appendix C: Glossary of Terms.
Appendix D: Orchestration Chart.
Bibliography for Further Study.
Index of Musical Examples.
Subject Index.
About the Author.

Part II: 1. A Review of Seventh Chords and the Dominant Seventh.
2. Nondominant Seventh Chords.
3. Altered Nonharmonic Tones and Secondary Dominants.
4. Modulation to Closely Related Keys.
5. Borrowed Chords.
6. Augmented Sixth Chords.
7. The Neapolitan Sixth, Altered Dominants, and Diminished Seventh Chords.
8. Chromatic Third-Relation Harmony.
9. Modulation to Foreign Keys: Part 1.
10. Modulation to Foreign Keys: Part 2.
11. Ninth, Eleventh, and Thirteenth Chords.
Appendix A: Chord Symbols.
Appendix B: Piano Styles.
Appendix C: Glossary of Terms.
Appendix D: Orchestration Chart.
Bibliography for Further Study.
Index of Musical Examples.
Subject Index.
About the Author.

Part I:


Preface to the ninth edition It is a challenging task to revise a book that has already enjoyed many years of success. It is an honor to be asked to undertake this latest revision of what has now been several editions. I have had a deep belief in these books ever since I first used them as a young theory teacher in 1967 when they were first available. With a great deal of history behind me, and the highest respect and regard for all of Paul Harder's diligent efforts, I now offer various revisions and enhancements that I believe keep to the original spirit of Dr. Harder's programmed concept, and that I hope all users will find helpful as they work through these pages. In making the revisions, I have responded to comments that were made available to me from Dr. Harder's estate and to suggestions from reviewers and current users of the book. Earlier revisions contained additions made to the supplementary exercises and to the Appendix material. In selected places throughout the book, I have continued to clarify definitions or to demonstrate to the reader that there are always alternatives to the ideas presented and that the reader should explore those alternatives either independently or in class with the instructor. This edition sees further changes in or additions to selected exercises, changes in the Appendixes, and the addition of "Supplementary Activities." I hope that the differences in theoretical and analytical approaches (which, I know, will always be there) work comfortably with this book and also provide many interesting points of discussion in class. I'm quite sure that Dr. Harder never intended this volume to be the final, definitive answer but, rather, to provide an informed point of departure for exploring the many anomalies that are always to be found in musics everywhere. The exposition of the material is accomplished through a step-by-step process. To some, this approach may seem mechanical, but it does ensure, in general, a good understanding of the basic tenets of the materials of the so-called common practice period in music. I emphasize that this approach does not preclude the presentation of alternatives or the exploration of other ways in which composers may work with various cause-and-effect relationships, rather than following any set of "rules." A rich learning experience can be created for instructors and students alike as they explore together the many exceptions to the so-called rules or principles. This allows them ultimately to link all that they study to actual musical literature or to create many varieties of assignments to solidify the understanding of the basic framework presented in these pages. The reviser continues to be grateful to both Mildred Harder and Prentice Hall for providing helpful comments and support throughout the revision process. I also wish to thank Mrs. Harder for providing me access to all notes and support materials Dr. Harder used in the original creation of his books and for her ever helpful comments and moral support. I would also thank colleagues Dr. David Stech, Dr. Larry Solomon, Dr. J. Timothy Kolosick, Dr. Timothy Kloth, Dr. Kenneth Rummery, Dr. Margaret Mayer, Dr. Deborah Kavasch, Dr. David Sills, Prof. David Foley, Dr. Tim Smith, and Dr. Lewis Strouse for their comments, encouragement, and assistance on revision ideas over the past several editions, as well as the reviewers who suggested changes for this edition: Dr. John Kratus (Michigan State University), Dr. Brian Belet (San Jose State University), Dr. Richard Repp (Terra Community College), Dr. Roy Breiling (Yavapai College), and Professor Ann Miller (Lewis & Clark College). I also thank Laura Lawrie who copyedited this edition and provided many helpful changes and suggestions. I am grateful to all concerned and am most appreciative of the help they have provided. I hope users of this volume will find many hours of rich, musical learning to enhance their developing musicianship

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