Tonal harmony: with an introduction to twentieth-century music /
Tonal Harmony by Stefan Kostka and Dorothy Payne has been the best seller for many years, and for good reason. With clear and concise explanations, well-chosen examples, and innovative features like the Self-tests in each chapter the authors have led a generation of students and teachers through the...
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| Format: | Book |
| Language: | English |
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Boston :
McGraw-Hill,
c2004.
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| Edition: | 5th ed. |
| Subjects: |
MARC
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| 100 | 1 | |a Kostka, Stefan M. | |
| 245 | 1 | 0 | |a Tonal harmony: |b with an introduction to twentieth-century music / |c Stefan Kostka, Dorothy Payne. |
| 246 | 3 | 0 | |a Introduction to twentieth-century music |
| 246 | 3 | |a Introduction to 20th-century music | |
| 250 | |a 5th ed. | ||
| 260 | |a Boston : |b McGraw-Hill, |c c2004. | ||
| 300 | |a xvii, 669 p. : |b ill. ; |c 27 cm. | ||
| 500 | |a Includes indexes. | ||
| 505 | 0 | 0 | |t About the authors -- |t Preface -- |t To the student -- |g pt. 1. |t Fundamentals -- |g ch. 1. |t Elements of pitch -- |g The |t keyboard and octave registers -- |t Notation of the staff - |g The |t major scale -- |g The |t major key signatures -- |t Minor key signatures -- |t Scale degree names -- |t Intervals -- |t Perfect, major, and minor intervals -- |t Inversion of intervals -- |t Consonant and dissonant intervals -- |t Summary -- |t Variations -- |g ch. 2. |t Elements of rhythm -- |t Rhythm -- |t Durational symbols -- |t Beat and tempo -- |t Meter -- |t Division of the beat -- |t Simple time signatures -- |t Compound time signatures -- |t Time signatures summarized -- |t More on durational symbols -- |t Summary -- |t Variations -- |g ch. 3. |t Introduction to triads and seventh chords -- |t Introduction -- |t Triads -- |t Seventh chords -- |t Inversions of chords -- |t Inversion symbols and figured bass -- |t Lead sheet symbols -- |t Recognizing chords in various textures -- |t Summary -- |t Variations -- |
| 505 | 0 | 0 | |g ch. 4. |t Diatonic chords in major and minor keys -- |t Introduction -- |g The |t minor scale -- |t Diatonic triads in major -- |t Diatonic triads in minor -- |t Diatonic seventh chords in major -- |t Diatonic seventh chords in minor -- |t Summary -- |t Variations -- |g pt. 2. |t Diatonic triads -- |g ch. 5. |t Principles of voice leading -- |t Introduction -- |g The |t melodic line -- |t Notating chords -- |t Voicing a single triad -- |t Parallel motion -- |t Summary -- |t Variations -- |g ch. 6. |t Root position part writing -- |t Introduction -- |t Root position part writing with repeated roots -- |t Four-part textures -- |t Three-part textures -- |t Root positions part writing with roots a 4th (5th) apart -- |t Four-part textures -- |t Three-part textures -- |t Root position part writing with roots a 3rd (6th) apart -- |t Four-part textures -- |t Three-part textures -- |t Root position part writing with roots a 2nd (7th) apart -- |t Four-part textures -- |t Three-part textures -- |t Instrument ranges and transpositions -- |t Summary -- |
| 505 | 0 | 0 | |g ch. 7. |t Harmonic progression -- |t Introduction -- |t Sequences and the circle of fifths -- |g The |t I and V chords -- |g The |t II chord -- |g The |t VI chord -- |g The |t III chord -- |g The |t VII chord -- |g The |t IV chord -- |t Common exceptions -- |t Differences in the minor mode -- |t Progressions involving seventh chords -- |t Harmonizing a simple melody -- |t Conclusion -- |t Summary -- |g ch. 8. |t Triads in first inversion -- |t Introduction -- |t Bass arpeggiation -- |t Substituted first inversion triads -- |t Parallel sixth chords -- |t Part writing first inversion triads -- |t Four-part textures -- |t Three-part textures -- |t Soprano-bass counterpoint -- |t Summary -- |t Variations -- |g ch. 9. |t Triads in second inversion -- |t Introduction -- |t Bass arpeggiation and the melodic bass -- |g The |t cadential six-four -- |g The |t passing six-four -- |g The |t pedal six-four -- |t Part writing for second inversion triads -- |t Summary -- |
| 505 | 0 | 0 | |g ch. 10. |t Cadences, phrases, and periods -- |t Musical form -- |t Cadences -- |t Cadences and harmonic rhythm -- |t Motives and phrases -- |t Mozart : "An die Freude" -- |t Period forms -- |t Summary -- |g ch. 11. |t Non chord tones 1 -- |t Introduction -- |t Classification of non-chord tones -- |t Passing tones -- |t Neighboring tones -- |t Suspensions and retardations -- |t Figured bass and lead sheet symbols -- |t Embellishing a simple texture -- |t Summary -- |g ch. 12. |t Non-chord tones 2 -- |t Appoggiaturas -- |t Escape tones -- |g The |t neighbor group -- |t Anticipations -- |g The |t pedal point -- |t Special problems in the analysis of non-chord tones -- |t Summary -- |t Variations -- |g pt. 3. |t Diatonic seventh chords -- |g ch. 13. The |t V7 chord -- |t Introduction -- |t General voice-leading considerations -- |g The |t V7 in root position -- |g The |t V7 in three parts -- |t Other resolutions of the V7 -- |g The |t inverted V7 chord -- |g The |t V6/5 chord -- |g The |t V4/3 chord -- |g The |t V4/2 chord -- |g The |t approach to the 7th -- |t Summary -- |g ch. 14. The |t II7 and VII7 chords -- |t Introduction -- |g The |t II7 chord -- |g The |t VII7 chord in major -- |g The |t VII7 chord in minor -- |t Summary -- |
| 505 | 0 | 0 | |g ch. 15. |t Other diatonic seventh chords -- |g The |t IV7 chord -- |g The |t VI7 chord -- |g The |t I7 chord -- |g The |t III7 chord -- |t Seventh chords and the circle-of-fifths progression -- |t Summary -- |g pt. 4. |t Chromaticism 1 -- |g ch. 16. |t Secondary functions 1 -- |t Chromaticism and altered chords -- |t Secondary functions -- |t Secondary dominant chords -- |t Spelling secondary dominants -- |t Recognizing secondary dominants -- |t Secondary dominants in context -- |t Summary -- |t Variations -- |g ch. 17. |t Secondary functions 2 -- |t Secondary leading-tone chords -- |t Spelling secondary leading-tone chords -- |t Recognizing secondary leading-tone chords -- |t Secondary leading-tone chords in context -- |t Sequences involving secondary functions -- |t Deceptive resolutions of secondary functions -- |t Other secondary functions -- |t Summary -- |g ch. 18. |t Modulations using diatonic common chords -- |t Modulation and change of key -- |t Modulation and tonicization -- |t Key relationships -- |t Common-chord modulation -- |t Analyzing common-chord modulation -- |t Summary -- |g ch. 19. |t Some other modulatory techniques -- |t Altered chords as common chords -- |t Sequential modulation -- |t Modulation by common tone -- |t Monophonic modulation -- |t Direct modulation -- |t Summary -- |
| 505 | 0 | 0 | |g ch. 20. |t Binary and ternary forms -- |t Formal terminology -- |t Binary forms -- |t Ternary forms -- |t Rounded binary forms -- |t 12-bar blues -- |t Other formal designs -- |t Summary -- |t Variations -- |g pt. 5. |t Chromaticism 2 -- |g ch. 21. |t Mode mixture -- |t Introduction -- |t Borrowed chords in minor -- |g The |t use of ♭6 in major -- |t Other borrowed chords in major -- |t Modulations involving mode mixture -- |t Summary -- |g ch. 22. The |t Neapolitan chord -- |t Introduction -- |t Conventional use of the Neapolitan -- |t Other uses of the Neapolitan -- |t Summary -- |g ch. 23. |t Augmented sixth chords 1 -- |g The |t interval of the augmented sixth -- |g The |t Italian augmented sixth chord -- |g The |t French augmented sixth chord -- |g The |t German augmented sixth chord -- |t Other uses of conventional augmented sixth chords -- |t Summary -- |g ch. 24. |t Augmented sixth chords 2 -- |t Introduction -- |t Other bass positions -- |t Resolutions to other scale degrees -- |t Resolutions to other chord members -- |t Other types of augmented sixth chords -- |t Summary -- |g ch. 25. |t Enharmonic spellings and enharmonic modulations -- |t Enharmonic spellings -- |t Enharmonic reinterpretation -- |t Enharmonic modulations using the major-minor seventh sonority -- |t Enharmonic modulations using the diminished seventh chord -- |t Summary -- |
| 505 | 0 | 0 | |g ch. 26. |t Further elements of the harmonic vocabulary -- |t Introduction -- |g The |t dominant with a substituted 6th -- |g The |t dominant with a raised 5th -- |t Ninth, eleventh, and thirteenth chords -- |t Simultaneities -- |t Coloristic chord successions -- |t Summary -- |g pt. 6. |t Late Romanticism and the twentieth century -- |g ch. 26. |t Tonal harmony in the late nineteenth century -- |t Introduction -- |t Counterpoint -- |t Treatment of dominant harmony -- |t Sequence -- |t Expanded tonality -- |t Summary -- |g ch. 28. An |t introduction to twentieth-century practices -- |t Introduction -- |t Impressionism -- |t Scales -- |g The |t diatonic church modes -- |t Pentatonic scales -- |t Synthetic scales -- |t Extended tertian harmony -- |t Extended tertian harmony and lead sheet symbols -- |t Polyharmony -- |t Quartal and secundal harmony -- |t Parallelism -- |t Rhythm and meter -- |t Atonal theory -- |g The |t twelve-tone serialism -- |t Total serialization -- |t Aleatory or chance music -- |t Texture and expanded instrumental resources -- |t Electronic music -- |t Summary and forward look -- |g appendix A. |t Instrumental ranges and transpositions -- |g appendix B. |t Lead sheet symbols -- |g appendix C. |t Set class list -- |g appendix D. |t Answers to self-tests -- |t Index of music examples -- |t Subject index. |
| 520 | |a Tonal Harmony by Stefan Kostka and Dorothy Payne has been the best seller for many years, and for good reason. With clear and concise explanations, well-chosen examples, and innovative features like the Self-tests in each chapter the authors have led a generation of students and teachers through their music theory courses. The new Fifth Edition builds on these key strengths and adds significant new features to provide an even better teaching and learning resource. A new and larger page size provides a more open design that is easier to read and follow; colored highlights within music examples call attention to specific techniques and concepts; a new text feature - "Variations" - works in conjunction with tone Online Learning Center to provide additional discussion of interesting or difficult topics; and coverage of species counterpoint is included in the Online Learning Center. - Back cover. | ||
| 650 | 0 | |a Harmony. | |
| 700 | 1 | |a Payne, Dorothy. | |
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