
Tonal Harmony, 7th Edition
by Kostka, Stefan; Payne, Dorothy-
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Summary
Table of Contents
Fundamentals | |
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 | |
Variations | |
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 | |
Variations | |
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 | |
Variations | |
Diatonic Chords in Major and Minor Keys | |
Introduction | |
Diatonic Triads in Major | |
The Minor Scale | |
Diatonic Triads in Minor | |
Diatonic Seventh Chords in Major | |
Diatonic Seventh Chords in Minor | |
Summary | |
Variations | |
Diatonic Triads | |
Principles of Voice Leading | |
Introduction | |
The Melodic Line | |
Notating Chords | |
Voicing a Singe Triad | |
Parallel Motion | |
Summary | |
Variations | |
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 2nd (7th) Apart | |
Instrumental Ranges and Transpositions | |
Summary | |
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 | |
More About Harmonic Sequences | |
Harmonizing a Simple Melody | |
Conclusion | |
Summary | |
Triads in First Inversion | |
Introduction | |
Bass Arpeggiation | |
Substituted First Inversion Triads | |
Inversions in Lead Sheets | |
Parallel Sixth Chords | |
Part Writing First Inversion Triads | |
Soprano-Bass Counterpoint | |
Summary | |
Variations | |
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 | |
Cadences, Phrases, Periods, and Sentences | |
Musical Form | |
Cadences | |
Cadences and Harmonic Rhythm | |
Motives and Phrases | |
Mozart: "An die Freude" | |
Period Forms | |
The Sentence | |
Summary | |
Non Chord Tones 1 | |
Introduction | |
Classification of Non-Chord Tones | |
Passing Tones | |
Neighboring Tones | |
Suspensions and Retardations | |
Embellishing a Simple Texture | |
Figured Bass and Lead Sheet Symbols | |
Summary | |
Non-Chord Tones 2 | |
Appoggiaturas | |
Escape Tones | |
The Neighbor Group | |
Anticipations | |
The Pedal Point | |
Special Problems in the Analysis of Non-Chord Tones | |
Summary | |
Variations | |
Diatonic Seventh Chords | |
The V7 Chord | |
Introduction | |
General Voice-Leading Considerations | |
The Approach to the 7th | |
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 | |
Summary | |
The II7 and VII7 Chords | |
Introduction | |
The II7 Chord | |
The VII7 Chord in Major | |
The VII7 Chord in Minor | |
Summary | |
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 | |
Chromaticism 1 | |
Secondary Functions 1 | |
Chromaticism and Altered Chords | |
Secondary Functions and Tonicization | |
Secondary Dominant Chords | |
Spelling Secondary Dominants | |
Recognizing Secondary Dominants | |
Secondary Dominants in Context | |
Summary | |
Variations | |
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 | |
Modulations Using Diatonic Common Chords | |
Modulation and Change of Key | |
Modulation and Tonicization | |
Key Relationships | |
Common-Chord Modulation | |
Analyzing Common-Chord Modulation | |
Summary | |
Some Other Modulatory Techniques | |
Altered Chords as Common Chords | |
Sequential Modulation | |
Modulation by Common Tone | |
Monophonic Modulation | |
Direct Modulation | |
Summary | |
Binary and Ternary Forms | |
Formal Terminology | |
Binary Forms | |
Ternary Forms | |
Rounded Binary Forms | |
12-Bar Blues | |
Other Forms with a Ternary Design | |
Sonata Form | |
Rondo Form | |
Summary | |
Variations | |
Chromaticism 2 | |
Mode Mixture and the Neapolitan | |
Introduction | |
Borrowed Chords in Minor | |
Borrowed Chords in Major | |
The Use of B-Flat 6 | |
Other Borrowed Chords in Major | |
Modulations Involving Mode Mixture and the Neapolitan | |
Summary | |
Variations | |
Augmented Sixth Chords | |
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 | |
Other Bass Positions | |
Summary | |
Variations | |
Enharmonic Spellings and Enharmonic Modulations | |
Enharmonic Spellings | |
Enharmonic Reinterpretation | |
Enharmonic Modulations Using the Major-Minor Seventh Sonority | |
Enharmonic Modulations Using the Diminished Seventh Chord | |
Other Examples of Enharmonicism | |
Summary | |
Variations | |
Further Elements of the Harmonic Vocabulary | |
Introduction | |
The Dominant with a Substituted 6th | |
The Dominant with a Raised 5th | |
Ninth, Eleventh, and Thirteenth Chords | |
The Common-Tone Diminished Seventh Chord | |
Simultaneities | |
Coloristic Chord Progressions | |
Summary | |
Tonal Harmony in the Late Nineteenth Century | |
Introduction | |
More About Mediants | |
Mediant Chains and Other Combinations | |
Counterpoint and Voice Leading | |
Sequences and Other Systematic Procedures | |
Summary | |
An Introduction to Twentieth-Century Music | |
Materials and Techniques | |
Introduction | |
Impressionism | |
Scale Materials | |
The Diatonic Modes | |
Pentatonic Scales | |
Synthetic Scales | |
Chord Structure | |
Extended Tertian Harmony | |
Polyharmony | |
Chord/Scale Connections | |
Quartal and Secundal Harmony | |
Other Concepts | |
Parallelism | |
Pandiatonicism | |
Rhythm and Meter | |
Summary | |
Post-Tonal Theory | |
Introduction | |
Basic Atonal Theory | |
Normal Form | |
Equivalence Relations and Mod 12 | |
Transposition (Tn) and Inversion (TnI) | |
Set Class and Prime Form | |
Interval Vector | |
Twelve-Tone Serialism | |
Integral Serialism | |
Summary | |
New Directions | |
Introduction | |
Explorations of Texture, Timbre, and Tuning | |
Indeterminacy | |
Minimalism | |
Electronic and Computer Music | |
Summary and Forward Look | |
Instrumental Ranges and Transpositions | |
Lead-Sheet Symbols | |
Set Class List | |
Answers to Self-Tests | |
Index of Music Examples | |
Subject Index | |
Index of Music Examples | |
Name Index | |
Subject Index | |
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