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Tonal Harmony (Text Only)

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ISBN: 9780072897821 | 0072897821
Edition: 4TH
Publisher: MCG
Pub. Date: 1/1/2000

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SummaryTable of Contents
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..
About the Authorsv
Prefacevii
To the Studentxi
PART I Fundamentals1(72)
Elements of Pitch
3... MORE
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 Triads73(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 Chords205(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 1255(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 2353(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 Century457(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 Transpositions569(2)
Appendix B Answers to Self-Tests571(102)
Index of Music Examples673(3)
Subject Index676

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