Concise introduction to tonal harmony / L. Poundie Burstein, Joseph N. Straus.

Author/creator Burstein, L. Poundie author.
Other author Straus, Joseph Nathan, author.
Format Book
EditionSecond edition.
Publication InfoNew York, NY : W. W. Norton & Company, Inc., 2020.
Descriptionxxii, 449 pages, 52 variously numbered pages : illustrations, music ; 26 cm
Subjects
Harmony.
Music theory--Elementary works.

Contents Fundamentals -- Overview of harmony and voice leading -- Diatonic harmony -- Chromatic harmony -- Form -- Post-tonal theory -- Test yourself answers.
Contents Part one. Fundamentals. Notation of pitch and rhythm. The staff ; Notating pitches ; Rhythmic durations ; Simple meter ; Compound meter -- Scales. Major scale ; Minor scales ; Key signatures for major keys ; Key signatures for minor keys ; Relative and parallel keys -- Intervals. Interval size ; Simple and compound intervals ; Interval quality ; Consonant and dissonant intervals -- Triads and seventh chords. Triads ; Triads in major and minor keys ; Seventh chords ; Seventh chords in major and minor keys -- Part two. Overview of harmony and voice leading. Four-part harmony. Writing chords in four parts ; Formats for writing four-part harmony ; Realizing Roman numerals in four-part harmony ; Realizing figured bass -- Voice leading. Moving between harmonies (voice leading) ; Kinds of motion ; Voice leading in four-part harmony -- Harmonic progression. Beginning and ending phrases ; Function and harmonic patterns ; Harmonizing melodies -- Melodic elaboration. Arpeggiation ; Octave doubling ; Embellishing tones ; Other embellishments -- Species counterpoint. First species ; Second species ; Fourth species -- Part three. Diatonic harmony. I and V. The tonic and dominant triads ; Voice-leading in four-part harmony ; The leading tone within the V chord ; Leaps in upper voices ; Harmonization -- The dominant seventh chord: V⁷. V⁷ and tendency tones ; Omitting the fifth of V⁷ or I in four-part harmony ; V to V⁷ (V⁸⁻⁷) ; V⁷ at cadences ; Harmonization -- I⁶ and V⁶. I⁶ ; V⁶ -- V[6/5] and V[4/2]. Harmonic progressions ; V[6/4] and V[4/2] as embellishing harmonies ; Voice leading in four-part harmony ; Figured bass -- V[4/3] and vii°⁶. Harmonic progressions ; Alternating with other dominant-to-tonic progressions ; Voice-leading in four-part harmony ; Figured bass -- Approaching the dominant: IV, ii⁶, and ii[6/5]. Moving toward dominant harmonies ; Voice-leading in four-part harmony -- Embellishing V: cadential [6/4]. Embellishing V ; Harmonic progression and voice leading ; Labeling the cadential [6/4] ; The cadential [6/4] within phrases -- Leading to the tonic: IV. Harmonic progression ; IV as an embellishment ; Plagal cadence -- The leading-tone seventh chord: vii°⁷ and vii [degree sign with a forward slash across] 7. vii°⁷ ; vii[degree sign with a forward slash across] 7 -- Approaching V: IV⁶, ii, ii⁷, and IV⁷. IV⁶ ; Root-position ii ; ii⁷ and IV⁷ ; Alternating between subdominant harmonies -- Multiple functions: VI. Harmonies that follow VI ; Harmonies that lead to VI ; Voice leading ; "VI⁶" -- Voice leading with embellishing tones. Voice leading (creating and removing parallels) ; Accented dissonances in four-part harmony ; Pedal point ; Figured bass for embellishing tones ; 9 as suspension and V⁹ -- III and VII. Root-position III ; "III⁶" ; vii°[5/3] ; Subtonic VII -- Sequences. Repeated patterns ; Descending sequences ; Ascending sequences ; Voice leading in sequences -- Other [6/4] chords. [6/4] chords as embellishing harmonies ; Pedal [6/4] ; Passing [6/4] ; Arpeggiated [6/4] ; Comparison of [6/4] chord types -- Other embellishing chords. Passing and neighbor chords ; Passing IV⁶ ; Passing V⁶ ; I-IV⁶-I6 ; Harmonizing a scale in the bass -- Part four. Chromatic harmony. Applied dominants of V. Tonicization and applied dominants ; V/V ; The secondary leading tone ; V⁶/V ; V⁷/V in root position and inversions ; V/V in minor keys ; Other resolutions of V/V and V⁷/V -- Other applied chords. Applied V and V⁷ ; Applied vii°⁶ and vii°⁷ ; Using applied chords in harmonizing melodies -- Modulation to the dominant key. Modulation ; Pivot chords ; Distinguishing tonicizations from modulations ; Harmonizing melodies -- Modulations to closely related keys. Closely
Contents related keys ; Pivot chords ; Extended tonicizations ; Modulation schemes -- Modal mixture. Parallel minor in a major key ; Parallel major in a minor key -- [flat] ii⁶: the Neapolitan sixth. Building [flat] ii⁶ ; Harmonic progression ; Voice leading -- Augmented sixth chords. Types of augmented sixth chords: Italian, French, and German ; Harmonic progressions -- Other chromatically altered chords. Altered chords ; Altered dominant chords ; [flat] II in root position and in major keys ; Augmented sixth chords with bass notes other than 6 [with a circumflex on top] ; Common-tone chromatic chords -- Chromatic sequences. Applied chords in sequences ; Other chromatic sequential patterns ; Strict chromatic sequences ; Equal division of the octave -- Chromatic modulation. Pivot chords involving mixture ; Common-tone modulation ; Enharmonic modulation ; Other types of modulation ; Chromatic key schemes -- Part five. Form. Sentences and other phrase types. Sentences ; Basic idea: repeated or varied ; Sentence length ; Sentence-like phrases -- Periods and other phrase pairs. Periods ; Paired phrases that are not periods ; Phrases within phrase pairs -- Binary form. Binary form ; Rounded binary form ; Balanced binary form ; Simple binary form ; Relative lengths of sections -- Ternary and rondo forms. Ternary form ; Rondo form -- Sonata form. Elements of sonata form ; Exposition ; Development ; Recapitulation ; Introduction and coda ; Sonata rondo -- Part six. Post-tonal theory. Collections and scales I: diatonic and pentatonic. Collection and scale ; Diatonic ; Pentatonic ; Relating diatonic and pentatonic -- Collections and scales II: octatonic, hexatonic, and whole-tone. Octatonic scales ; Hexatonic scales ; Whole-tone scales ; Interaction between scales -- Triadic post-tonality. Triadic transformation ; Parallel motion (planing) ; Triads with added notes ; Traditional progressions recomposed ; Bitonal and bi-triadic music -- Intervals. Pitch and pitch intervals ; Pitch class and pitch-class intervals -- Pitch-class sets: trichords. Pitch-class sets ; Transposition ; Inversion ; Set class ; Composing with pitch-class sets -- Inversional symmetry. Wedge progressions ; Inversional symmetry in pitch ; Inversional symmetry in pitch class -- Twelve-tone serialism. Twelve-tone series ; Basic operations ; Twelve-by-twelve matrix ; Twelve-counting a piece ; Subsets ; Invariance -- Form. Traditional phrase types ; Sonata form ; Moment form ; Collage form ; Form as a process -- Test yourself answers.
Abstract This book has successfully introduced thousands of students to music theory. With the new Second Edition, the authors have made the text better than ever by listening to professors and students and adding new coverage of post-tonal theory and more opportunities for music analysis. The text includes Norton's Know It? Show It! online pedagogy, which has been proven to help students develop theory skills.
General noteThe chapters end with sections called "points for review" and "test yourself."
Bibliography noteIncludes indexes.
Genre/formTextbooks.
LCCN 2019020813
ISBN9780393417180
ISBN0393417182
ISBN9780393679601 hardcover
ISBN0393679608 hardcover
ISBN9780393417197 paperback
ISBN0393417190 paperback

Availability

Library Location Call Number Status Item Actions
Music Course Reference MT50.B979 C66 2020 ✔ Available