Tonal Harmony / Edition 6

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Overview

For nearly two decades Tonal Harmony has been the leading text for the two-year theory curriculum for music majors. Used at nearly 800 schools, Tonal Harmony has been consistently praised for its practicality and ease of use for student and instructor alike. The straightforward approach is supported by well-chosen examples and thoughtful exercises, and the total presentation is compatible with differing teaching styles and theoretical points of view. In addition, a set outstanding ancillaries, which include a collection of audio examples on CD (for both the text and workbook) and an extensive Instructor's Manual, round out the comprehensive teaching package.

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Product Details

  • ISBN-13: 9780073401355
  • Publisher: McGraw-Hill Higher Education
  • Publication date: 2/1/2008
  • Edition description: Older Edition
  • Edition number: 6
  • Pages: 736
  • Sales rank: 437,434
  • Product dimensions: 8.00 (w) x 10.20 (h) x 1.30 (d)

Table of Contents

Preface

To the Student
Part I: Fundamentals

Chapter 1: Elements of Pitch

The Keyboard and Octave Registers

Notation of the Staff

The Major Scale

The Major Key Signatures

Minor Scale

Minor Key Signatures

Scale Degree Names

Intervals

Perfect, Major, and Minor Intervals

Augmented and Diminished Intervals

Inversion of Intervals

Consonant and Dissonant Intervals

Summary

Chapter 2: Elements of Rhythm

Rhythm

Durational Symbols

Beat and Tempo

Meter

Division of the Beat

Simple Time Signatures

Compound Time Signatures

Time Signatures Summarized

More on Durational Symbols

Summary

Chapter 3: Introduction to Triads and Seventh Chords

Introduction

Triads

Seventh Chords

Inversions of Chords

Inversion Symbols and Figured Bass

Lead Sheet Symbols

Recognizing Chords in Various Textures

Summary

Chapter 4: Diatonic Chords in Major and Minor Keys

Introduction

The Minor Scale

Diatonic Triads in Major

Diatonic Triads in Minor

Diatonic Seventh Chords in Major

Diatonic Seventh Chords in Minor

Summary
Part II: Diatonic Triads

Chapter 5: Principles of Voice Leading

Introduction

The Melodic Line

Notating Chords

Voicing a Singe Triad

Parallel Motion

Summary

Chapter 6: Root Position Part Writing

Introduction

Root Position Part Writing with Repeated Roots

Root Position Part Writing with Roots a 4th (5th) Apart

Root Position Part Writing with Roots a 3rd (6th) Apart

Root Position Part Writing with Roots a 3rd(7th) Apart

Instrumental Ranges and Transpositions

Summary

Chapter 7: Harmonic Progression

Introduction

Sequences and the Circle of Fifths

The I and V Chords

The II Chord

The VI Chord

The III Chord

The VII Chord

The IV Chord

Common Exceptions

Differences in the Minor Mode

Progressions Involving Seventh Chords

Harmonizing a Simple Melody

Conclusion

Summary

Chapter 8: Triads in First Inversion

Introduction

Bass Arpeggiation

Substituted First Inversion Triads

Parallel Sixth Chords

Part Writing First Inversion Triads

Soprano-Bass Counterpoint

Summary

Chapter 9: Triads in Second Inversion

Introduction

Bass Arpeggiation and the Melodic Bass

The Cadential Six-Four

The Passing Six-Four

The Pedal Six-Four

Part Writing for Second Inversion Triads

Summary

Chapter 10: Cadences, Phrases, and Periods

Musical Form

Cadences

Cadences and Harmonic Rhythm

Motives and Phrases

Mozart: “An die Freude”

Period Forms

Summary

Chapter 11: Non Chord Tones 1

Introduction

Classification of Non-Chord Tones

Passing Tones

Neighboring Tones

Suspensions and Retardations

Figured Bass and Lead Sheet Symbols

Embellishing a Simple Texture

Summary

Chapter 12: Non-Chord Tones 2

Appoggiaturas

Escape Tones

The Neighbor Group

Anticipations

The Pedal Point

Special Problems in the Analysis of Non-Chord Tones

Summary
Part III: Diatonic Seventh Chords

Chapter 13: The V7 Chord

Introduction

General Voice-Leading Considerations

The V7 in Root Position

The V7 in Three Parts

Other Resolutions of the V7

The Inverted V7 Chord

The V6/5 Chord

The V4/3 Chord

The V4/2 Chord

The Approach to the Seventh

Summary

Chapter 14: The II7 and VII7 Chords

Introduction

The II7 Chord

The VII7 Chord in Major

The VII7 Chord in Minor

Summary

Chapter 15: Other Diatonic Seventh Chords

The IV7 Chord

The VI7 Chord

The I7 Chord

The III7 Chord

Seventh Chords and the Circle-of -Fifths Progression

Summary Part IV: Chromaticism 1

Chapter 16: Secondary Functions 1

Chromaticism and Altered Chords

Secondary Functions

Secondary Dominant Chords

Spelling Secondary Dominants

Recognizing Secondary Dominants

Secondary Dominants in Context

Summary

Chapter 17: Secondary Functions 2

Secondary Leading-Tone Chords

Spelling Secondary Leading-Tone Chords

Recognizing Secondary Leading-Tone Chords

Secondary Leading-Tone Chords in Context

Sequences Involving Secondary Functions

Deceptive Resolutions of Secondary Functions

Other Secondary Functions

Summary

Chapter 18: Modulations Using Diatonic Common Chords

Modulation and Change of Key

Modulation and Tonicization

Key Relationships Common-Chord Modulation Analyzing Common-Chord Modulation Summary

Chapter 19: Some Other Modulatory Techniques

Altered Chords as Common Chords

Sequential Modulation

Modulation by Common Tone

Monophonic Modulation

Direct Modulation

Summary

Chapter 20: Binary and Ternary Forms

Formal Terminology

Binary Forms

Ternary Forms

Rounded Binary Forms

12-Bar Blues

Other Formal Designs

Summary
Part V: Chromaticism 2

Chapter 21: Mode Mixture

Introduction

Borrowed Chords in Minor

The Use of B-Flat 6 in Major

Other Borrowed Chords in Major

Modulations Involving Mode Mixture

Summary

Chapter 22: The Neapolitan Chord

Introduction

Conventional Use of the Neapolitan

Other Uses of the Neapolitan

Summary

Chapter 23: Augmented Sixth Chords 1

The Interval of the Augmented Sixth

The Italian Augmented Sixth Chord

The French Augmented Sixth Chord

The German Augmented Sixth Chord

Other Uses of the Conventional Augmented Sixth Chords

Summary

Chapter 24: Augmented Sixth Chords 2

Introduction

Other Bass Positions

Resolutions to Tonic

Resolutions to Other Scale Degrees

Resolutions to Other Chord Members

Other Types of Augmented Sixth Chords

Summary

Chapter 25: Enharmonic Spellings and Enharmonic Modulations

Enharmonic Spellings

Enharmonic Interpretation

Enharmonic Modulations Using the Major-Minor Seventh Sonority

Enharmonic Modulations Using the Diminished Seventh Chord

Other Examples of Enharmonicism

Summary

Chapter 26: Further Elements of the Harmonic Vocabulary

Introduction

The Dominant with a Substituted 5th

The Dominant with a Raised 5th

Ninth, Eleventh, and Thirteenth Chords

The Common-Tone Diminished Seventh Chord

Simultaneities

Coloristic Chord Progressions

Summary
Part VI: Late Romanticism and the Twentieth Century

Chapter 27: Tonal Harmony in the Late Nineteenth Century

Introduction

Counterpoint

Treatment of Dominant Harmony

Sequence

Expanded Tonality

Summary

Chapter 28: An Introduction to Twentieth-Century Practices

Introduction

Impressionism

Scales

Chord Structure

Parallelism

Pandiatonicism

Rhythm and Meter

Set Theory

The Twelve-Tone Technique

Tonal Serialization

Aleatory of Chance Music

Texture and Expanded Instrumental Resources

Electronic Music

Summary and Forward Look

Appendix A: Instrumental Ranges and Transpositions

Appendix B: Answers to Self-Tests

Appendix C: Index of Music Examples

Name Index

Subject Index
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Sort by: Showing all of 5 Customer Reviews
  • Posted June 20, 2009

    A Greaet Graduate School Review

    I used this book to prepare for a graduate level theory exam. It was a tremendous guide and help. The chapters are short and focused. The information was detailed and directed, and there were many purposeful practice examples at the end of each chapter. The best part about the practice, is that the answers are included in the back of the book. I bought the textbook and the workbook. However, for my purpose, I did not use the workbook. There aren't answers with the workbook.

    1 out of 1 people found this review helpful.

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