Tonal harmony 7th edition pdf download free

Tonal harmony 7th edition pdf download free

Tonal-Harmony Stefan Kostka,Document Information

WebFor a generation of professionals in the musical community, Tonal Harmony has provided a comprehensive, yet accessible and highly practical, set of tools for understanding music. WebYou can download PDF versions of the user's guide, manuals and ebooks about tonal harmony 7th edition, you can also find and download for free A free online manual WebWorkbook For Tonal Harmony [PDF] Includes Multiple formats No login requirement Instant download Verified by our users Workbook For Tonal Harmony [PDF] Authors: Stefan WebUpload & Share PDF | DocDroid WebTonal Harmony Seventh Edition Pdf Getting the books Tonal Harmony Seventh Edition Pdf now is not type of challenging means. You could not forlorn going when ebook heap ... read more

Hl Schindler, Allan, Tide MTSO. KS5 —der0 Inversion Symbols and Figured Bass 51 Recognizing Chordsin Various Textures 55 Chapter Four Diatonic Chords in Major and Minor Keys 61 Invoduction 61 The Minor Scale 61 Diatonic Triads in Major 64 Diatonic Triadsin Minor 65 Diatonie Seventh Chords in Major Diatonic Seventh Chords in Minor 69 PART TWO: DIATONIC TRIADS 75 Chapter Five Principles of Voice Leading 77 Inoduction 77 The Melodic Line 78 Notating Chords 80 Voicing Single Triad 81 Parallels 84 Chapter Six Root Position Part Writing 91 Introduction 91 Root Position Part Writing with Repeated Roots Other Bass Positions Resolutions to Other Seale Degrees. in music theory from the University of Wisconsin, He was a member of the faculty of the Eastman School of Music from to Since that time he has been on the faculty of the University of Texas at Austin, Dr. More recently he fas specialized in courses in atonal theory and contemporary styles and techniques, interests that have led to a second.

book, Materials and Technigues of Twentieth: Century Music. Kostka is active in vatious professional organizations and currently serves on the editorial board of Collage Music Symposium. Dorothy Payne presently serves as Director of the School of Music at the University of Arizona. in music theory. Before assuming her duties in Tucson, she occupied the position of Music Department Head at the University of Connecticut, Previous faculty appointments were held at the University of Texas at Austin, the Eastman School of Music, and Pacific Lutheran University. She has been the recipient of teaching excellence awards at both the Eastman School and the University of Texas. It offers a clear and thorough introduction to the resources and practice of Western music from the seven- teenth century to the present day. Actual musical practice is stressed more than rules or prohibitions.

Principles are explained and illus- trated, and exceptions are noted. In its presentation of harmonic procedures, the text introduces students to the most common vocal and instrumental textures encountered in tonal music. Traditional four-part chorale settings are used to introduce many con- cepts, but three-part instrumental and vocal textures are also presented in iMlustrations and drill work, along with a variety of keyboard styles. To encourage the correlation of writing and performing skills, we have included musical examples in score and reduced-score formats, as well as charts on instrumental ranges and transpositions. Some of the assignments ask the student to write for small ensembles suitable for performance in class.

Instructors may modify these assignments to make them most appropriate for their particular situations. These include textural reductions, accompanying many of the examples, which highlight choréa} motion. Our goal has been 10 elucidate tonal logic at the phrase and section level as well as from one chord to the next. A large portion of the text is devoted to SelfTests, consisting of studencgraded drills in chord spelling, part writing, and analysis, with suggested answers given in Appendix B, The Self-Tests can be used for in-class dril! and discussion, in preparation for the Workbook exercises, or for independent study. Periodic Checkpoints enable students to gauge their understanding of the preceding material Chapter summaries highlight the key points of each chapter. Chapters 3 and 4 introduce the student to triads and seventh chords in various inversions and textures, but without placing them yet in their tonal concent. Part Two Chapters opens with two chapters on the principles of voice leading, with practice limited to root position triads.

Chapter 7 follows with a systematic discussion of normative harmonic progressions. Subsequent chapters deal with tiads in inversion Chapters 8 and 9}, basic elements of musical form Chapter 10}, and non-chord tones Chapters Il and 12 Part Three Chapters is devoted entirely to diatonic seventh chords, moving from the dominant seventh in root position and inversion Chapter 13 through the supertonic and leading-tone sevenths Chapter 14 to the remaining diatonic seventh chords Chapter 15 Part Four begins the study of chroxraticism with secondary functions Chaptess } and modulation Chapters , concluding in Chapter 20 with a discussion of binary and ternary forms. Cheomaticism continues to be the main topic in Part Five Chapters , which covers mode mi ture, the Neapolitan, augmented sixth chords, and enharmonicism, Some further elements, ninth chords and altered dominants among them, are the subject of the final chapter of this section.

All examples were recorded using the same instrumentations seen in text and Workbook exampies. The Instructor's Manual has been expanded considerably. Each chapter now includes a chapter quiz ia some cases more than one which the instructor may duplicate and use in class. Most exciting, pethaps, is the availability in recorded form of many of the musical examples in the third edition. These recordings are, in most cases, of fine student musicians, and they should add considerably to the effectiveness of this text. Reviewers of the manuscript contributed many helpful! suggestions; our sincere thanks are extended to Judith Allen, University of Virginia; Michael Arenson, University of Delaware; 'B, Glenn Chandler, Cenwcal Connecticut State College; Herbert Colvin, Baylor University; Charles Mligel, Southern Lllinois University; Roger Foltz, University of Nebraska, Omaha; Albert G. Huetteman, University of Massachusetts; William Hussey, University of Texas at Austin; Hanley Jackson, Kansas State University; Marvin Johnson, University of Alabama; Frank Lorince, West Virginia University; William L.

Maxson, Eastern Washington University; Leonard Ot, University of Missouri; John Pozdro, University of Kansas, Jeffrey L. Prater, Towa State University; Russell Riepe, Southwest Texas State University; Wayne Scott, University of Colorado; Richard Soule, University of Nevada; James Stewart, Ohio University; William Toutant, California State University at Northridge; and John D. White, University of Florida. We are also grateful to those who contributed to the development of the second edition: Richard Bass, University of Connecticut; James Bennighof, Baylor University; Richard Devore, Kent State University; Lora Gingerich, Ohio State University; Kent Kennan, University of Texas at Austin; James W.

Krehbiel, Eastern Dlinois University; Frank Lorince, West Vieginia University retired ; Donald Para, Western Michigan University; Marian Petersen, University of Missouri at Kansas Gity; Donald Peterson, University of Tennessee; and John Pozdro, University of Kansas. Contributors to the third edition include Shirley Bean, University of Missouri, Kansas City; Brian Berlin, University of Texas at Austin; Horace Boyer, University of Massachusetts; Polly Brecht, Middle Tennessee State University; ohn Buccheri, Northwestern University; Arthur Campbell, St. Olaf College; Lisa Derry, Western Michigan University; David Foley, Ball State University; Douglass Green, University of Texas at Austin; Andrew Grobengieser, University of Texas at Austin; Thom Hutcheson, Middle Tennessee State University; Robert Judd, California State University, Fresno; William Pelto, Ithaca College; H. Lee Riggins, Bowling Green State University, Lynne Rogers, University of Texas at Austin; and Judith Solomon, Texas Christian University Finally, we would express gratitude to Mary Robertson for her love and inspiration, and to Bill Penn for his unfailing encouragement.

In other words, just about any piece that you are apt to perform will involve more than one person playing br singing different notes at the same time-oF, in the case of a keyboard player, more than one finger pushing down keys. There are exceptions, of course, such as works for unaccompanied flute, violin, and so on, but an implied harmonic background is often still apparent to the ear in such pieces. If harmony is so important in our music, it might be a good idea if we agreed on a definition of it. What does the expression sing in harmony mean to you? It probably conjures up impressions of something on the order of a barbershop quartet, or a chorus, or maybe just two people singing a song, one with the melody, the other one singing the harmony. Since harmony began historically with vocal music, this is a reasonable way to begin formu- lating a definition of harmony.

In all of these examples, our conception of harmony involves more than one person singing at once, and the harmony is the sound thar the combined voices produce. Harmony is the sound that results when two oF more pitches are performed simi neously. Ii the vertical aspect of music, produced by the combination of the compo- nents of the horizontal aspect. to Sing through the four parts in Example 1. The soprano and tenor lines are the most melodic. The actual melody being harmonized is in the soprano, while the tenor follows its contour for a while and then ends with an eighth. note figure of its own. The bass line is strong and independent but less metodic, while the alto part is probably the least distinctive of all.

These four relatively independent lines combine to create harmony, with chords occur- ring at the rate of approximately one per beat. At times the emphasis has been almost entirely on independent horizontal Jines, with liele attention paid to the resulting chords—a tendency easily seen in the twentieth century. At other times the independence of the lines has been weakened or is absent entirely. In Example 2 the only independent lines are the sustained bass note and the melody highest notes. The other lines merely double the melody at various intervals, creating a very nontraditional succession of chords. The term refers to the harmonic siyle of music composed, during the period from about to about Third, both use chords that are tertian in structure.

Fourth, and very important, is that the chords built on the various scale degrees relate to one another and to the tonal center in fairly complex ways. Because each chord tends to have more or iess standard roles, of functions, within a key, this characteristic is sometimes referred to as functional harmony. Somehow, you know a lot about this chord without having to read a book about it. Then play Example 4, which will seem to follow Example 3 perfectly. This is an example of what is meant by the relationships between chords in tonal harmony and why we sometimes use the term functional harmony.

It began evolving long before , and itis still around today. Turn on your radio, go to a nightclub, listen to the canned music in the supermarket—it's almost all tonal harmony. Then why do we put the demise of tonal harmony at ? This does not mean that tonal harmony ceased to exist in the real world or in music of artistic merit, Also, itis important to realize that not all music with a tonal center makes use of functional harmony—especially a good deal of the music of the twentieth century—music by composers such as Bartok and Hindemith, for example. Self Tests All chapters contain one or more such sections. These Self-Tests contain questions and drill material for use in independent study or classroom discus- sion. Suggested answers to all Self-Test problems appear in Appendix B. In many cases more than one correct answer is possible, but only one answer will be given in Appendix B.

Most of the Workbook Exercises will be similar to those in the preceding Self-Test, so refer to the Self-Test if you have questions con- cerning completion of the Exercises. Pitches are nnained by using the first seven letters of the alphabet: A, B, CG, D, E, F, and G, We will approach the notation of pitch by relating this pitch alphabet. Lower C's moving left are named C3, C2, and CI. All the C's on the piano are labeled in Example i Example LLAEVER STNee eee eae aera middle ¢ From any C up to or down to the next C is called an octave. All the pitches from one C up to, but not including, the next Care said to be in the same octave register. As Example illustrates, the white key above C4 would be named D4, because it is in the same octave register, but the white key below C4 would be named B3. ma NOTATION ON THE STAFF Our system of musical notation is similar to a graph in which tim indicated on the X axis and pitch is shown on the ¥ axis.

Ja Example R occurs hefore S in time and is higher thaa S in pitch, Example y R s A siaff is used in music to indicate the precise pitch desired. A staff consists of five lines and four spaces, but it may be extended indefinitely through the use of ledger lines Ex. The three clefs cormmonly used today are shown in Example , and the position of C4 in each is illustrated. Notice that the G clef appears in either of two positions, Notation on the Staff 5 Example Genesic name: G clef Falef Cater Coke Speciicmme: Treble clef Bawdlef — Altodet Tenor eet Cf on co a The clefs in Example are shown in the positions that are in common use today, but you may occasionally find them placed differently on the staff in some editions.

Wherever they appear, the design of the G clef circles G4, the dots of the F clef surround F3, and the C clef is centered on C4, The grand staff is a combination of two staves joined by brace, with the top and bottom staves using treble and bass clefs, respectively. Various pitches are notated and labeled on the grand staff in Example , Pay special attention to the way in which the ledger lines are used on the grand staff. For instance, the notes C4 and A3 appear twice in Example , once in rela- 11 t0 the top staff and once in relation to the bottom staff. Example Feces as SELF-TEST Answers begin, on page Name the pitches in the blanks provided, using the correct octave register designations. EXERCISE See Workbook. A half siep is the distance from a key on the piano to the very next key, white or black.

Using only the white keys on the piano keyboard, there are two half steps in each octave Ex. Using only the white keys on the piano keyboard, there are five whole steps in each octave Ex. are scale degree numbers for the C major scale. and 4 and? and i. Notice also that the major scale can be thought of as two identical, four-note patterns separated by a whole step. In order o play a G major scale, we would need to skip the F key and play the black key that is between F and G, We will label that key with an accidental, a symbol that raises or lowers a pitch by a half or whole step. All the possible accidentals are listed in this table. VVVVV rye tia We can make our G scale conform to the major scale pattern by adding one accidental, in this case a sharp.

Notice that when we write or say the names of notes and accidentals, we put the accidental last as in Ff or F-sharp , but in staff notation the accidental, always precedes the note that it modifies as in Ex. Sing aloud each of the following songs. Then identify the meter type of each, using the terms duple, triple, and quadruple. Scale review. Fill in the blanks, using the melodic minor for all minor-key examples. Beat and Meter Type 1. Simple triple 3. Simple duple 4. Beat Note Division of the Beat Time Signature �� 2 Simple quadruple B. Renotate the excerpts from textbook Example using the specified time signatures.

Division of the Beat Time Signature Compound triple 6 16 12 Compound duple 9 2. Beat Note 5. Compound quadruple 2. Beat Note Division of the Beat Time Signature 4 6 �� 9 B. Each measure below is incomplete. Add one or more rests to the end of each to complete the measure. Provide the best time signature for each exercise. In some cases, more than one correct answer might be possible. Each of the following fragments is notated so that the placement of the beats is obscured in some fashion. Without changing the way the music will sound, rewrite each one to clarify the beat placement. This may involve breaking some of the long notes into tied shorter notes or rebeaming groups of notes. Add stems as required.

Each duration is a half note. Each duration is a sixteenth note. Beam them in groups of four. Fill in the key, scale degree, or note, whichever is missing. Assume the melodic minor form for all minor keys. Interval review. Notate the specified interval above the given note. Spell the triad, given the root and the type. Notate the triad, given the root and the type. Given the chord quality and one member of the triad, notate the remainder of the triad. Identify the type of seventh chord, using the abbreviations given in Example Notate the seventh chord, given the root and type. Given the seventh-chord quality and one member of the chord, notate the rest of the chord. Identify the root and type of each chord and show the correct bass-position symbol Bps. Fill in the blanks below each figured bass with the lead-sheet symbol of the chord that would be played at the corresponding point in the excerpt.

Corelli, Sonata V, op. Notate using half notes on the bottom staff the chords indicated by the lead-sheet symbols. Notate all chords in root position. Label each chord with an appropriate lead-sheet symbol in the space above the chord. Use slash-chord notation for inverted chords. All the notes in each exercise belong to the same chord. Provide the root, type, and bass-position symbol Bps for each chord in the following excerpts. Each chord is numbered. Put your analysis of the chords in the blanks below each excerpt. Time signature review. Simple triple 2. Given the key and the triad, supply the roman numeral below the staff.

Finally, provide an appropriate lead-sheet symbol above the staff, using slash-chord notation where appropriate. In the following exercise you are given the name of a key and a scale degree number in parentheses. Without using key signatures, notate the triad on that scale degree, and provide the roman numeral. In minor keys, be sure to use the triad types circled in Example Write roman numerals in the spaces provided, making sure each roman numeral is of the correct type and includes a bass-position symbol if necessary. Key ex. Given the key and the seventh chord, supply the roman numeral below the staff.

Be sure your roman numeral is of the correct type, and include bass-position symbols where needed. Finally, provide an appropriate lead-sheet symbol above the staff. In the following exercises, you are given the name of a key and a scale degree number in parentheses. Without using key signatures, notate the seventh chord on that scale degree in root position, and provide the roman numeral. In minor keys, be sure to use the chord types shown in Example Put roman numerals in the spaces provided, making sure each roman numeral is of the correct type and includes a bass-position symbol, if needed.

For the purposes of this exercise, ignore the G5 in m. Hummel, German Dance, op. Criticize each melody in terms of the rules for simple melodies discussed in The Melodic Line section on pages 66— Compose simple melodies that will conform to these progressions. Analyze the following excerpt using roman numerals and bass-position symbols. The notes in parentheses are not part of the chord and should be ignored for the purpose of harmonic analysis. Review the two conventions concerning spacing in Voicing a Single Triad on pages 70— Then point out in the following example any places where those conventions are not followed. Fill in the circled missing inner voice s to complete each root-position triad, being sure that each note of the triad is represented.

Follow the spacing conventions, and stay within the range of each vocal part. In the following examples, you are given the soprano note for each chord. Supply the alto, tenor, and bass notes to complete the specified triad in close or open position, as indicated. Be sure to double the root of each chord and follow the spacing conventions. First, put lead-sheet symbols in the blanks above this example. Label the chords in the following excerpt with roman numerals. Then label any parallel motion that you find between any two voices. Find and label the following errors in this passage: 1. Parallel 8ves 2. Parallel 5ths 3. Direct 5th 4. Contrary 5ths 5. Spacing error review pp. Direct 8ve 4. Using repeated triads A. Fill in the inner voice or voices in the second chord of each exercise. The key is F major throughout. Double the roots of the triads in the four-voice examples. Using roots a 4th 5th apart A. Add alto and tenor parts to each of the following exercises.

Each progression involves roots a P4 P5 apart. Use one of the three methods outlined in Root Position Part Writing with Roots a 4th 5th Apart on pages 83—84 in each case, and state which you have used. Add an alto part to each exercise. Be careful to observe conventions concerning spacing, parallels, and doubling. Each triad should include at least a root and a 3rd. Using roots a 4th 5th and 3rd 6th apart A. Add alto and tenor parts to each exercise that follows. Use the smoothest voice leading in each case. For roots a 4th 5th apart, state which method you have used. Add an alto part to each exercise that follows. Be careful to observe the conventions concerning parallels, spacing, and doubling. Using all root relationships A. Complete each progression. Make two versions of each: one for three parts adding an alto and one for four parts adding alto and tenor.

In the four-part versions, state which method you have used for any progression by 4th or 5th. Fill in alto and tenor parts in these exercises. Name the keys and analyze the chords specified by these figured basses. Then compose a good melody line for each. Finally, fill in alto and tenor parts to make a four-part texture. Write the following short progressions in root position for combinations of three and four parts. Notate the following chords for the specified instruments. Each chord is written at concert pitch, so transpose as needed for the performers. You do not need to use key signatures, but use the correct clef for each instrument. Note that the instruments are listed in score order, the order used in Appendix A, which is not always the same as order by pitch. Set the following progression for combinations of three and four parts.

If possible, score for instruments in your class. Use root position only. Write a version of the following excerpt on a grand staff by transposing the parts to concert pitch. Play your version on the piano and analyze the harmonies if you can. Complete each harmonic fragment to conform with the major-mode diagram presented on page The chord in the blank should be different from those on either side of it. Bracket any portions of these progressions that do not conform to the chord diagrams on page Label all chords with roman numerals and bass-position symbols. Bracket any successions of roman numerals that do not agree with the complete major and minor chord diagrams.

In addition, provide lead-sheet symbols above the top staff. Unfigured bass realization by S. The key is g minor, despite what appears to be an incorrect key signature. Key signatures had not yet become standardized when this work was composed. Analyze the chords specified by these figured basses and add inner voices to make a four-part texture. Bracket all circle-of-fifths progressions, even those that contain only two chords. Before beginning, review the part writing for deceptive progressions on pages 88— Analyze this figured bass, then add a good soprano line and inner voices. Bracket all circle-of-fifths progressions.

Add an alto part only to mm. Then compose a good soprano line for mm. Following are two unfigured bass lines. Using triads in root position and first inversion only, show a good harmonization of each one by placing roman numerals beneath the bass line. Be sure to refer to the diagrams on page while you work on your harmonizations. Harmonize the following melodies by using root-position major or minor not diminished triads in an acceptable progression. Try to give the bass a good contour while avoiding parallel and direct 5ths and 8ves with the melody. Be sure to include analysis. Finally, add one or two inner parts to make a version for SAB three-part chorus or SATB four-part chorus, as indicated. Compose a simple melody, then follow the instructions for Part H.

You might need to revise the melody as you work on the harmonization. Review: Label the chords with roman numerals and bass-position symbols where needed. Do not attempt a roman numeral analysis. Beethoven, Piano Sonata op. Label all chords with roman numerals. Bracket the circle-of-fifths progression review pp. Supply the missing tenor line viola in the original. Supply alto and tenor lines for the following passages. Supply alto lines for the following passages. Analyze the implied harmonies more than one good solution is possible , and add an alto line only. Use only triads in root position and first inversion. Continue your solution to Part D with a second eight-measure segment. The second part should be similar to the first, but if it starts exactly like it, objectionable parallels will result. Maintain the three-part texture. Review the figured-bass information on pages 44— Then realize the figured basses below by following these steps: a. Provide the roman numerals specified by the figured bass.

Compose a simple melody that will conform to the progression and at the same time will create a good counterpoint with the bass. Make two completed versions of each, one for three parts and one for four parts. Review the chord diagrams on page Assign roman numerals to each of the bass notes in the following exercises, using triads only in root position and first inversion to create a good tonal progression. Follow steps b and c for Part H. If possible, these settings should be for vocal or instrumental combinations found in your class. Be sure your progression is a good one. Write out the melody with a bass line, using first-inversion triads where appropriate.

Make sure that the bass creates a good counterpoint with the melody and that there are no objectionable parallels. Make a piano setting using the bass line you composed. Keep the piano texture simple, perhaps like that in Example p. In addition to the specific instructions for each example, label each six-four chord by type. Clementi, Sonatina op. Label the chords with roman numerals, and put parentheses around all nonchord tones. Clara Wieck Schumann, Scherzo op. Label the chords with roman numerals. As before, identify the type of any six-four chord you encounter. Haydn, Symphony no. Label the chords with roman numerals, and identify the type of any six-four chords. Mozart, Piano Sonata, K. Label the chords with roman numerals, and identify the type of any six-four chord you encounter. Beethoven, Piano Concerto no. Fill in one or two inner parts, as specified. Identify any six-four chords by type. Realize these figured basses for three or four voices, as specified, striving to create good outer-voice counterpoint.

Analyze with roman numerals, and label six-four types. Fill in alto and tenor parts to make a four-part texture. Be sure to include a six-four chord in each one, and identify the six-four type. Complete the harmonization by filling in two inner parts. Try to include an appropriate six-four chord in each harmonization. Nonchord tones are in parentheses. Be sure to use at least one cadential, passing, or pedal six-four chord. Include a harmonic analysis. Using only triads in root position and first inversion, compose examples of the following cadences.

Each example should include three chords—the two cadence chords plus one chord preceding the cadence chords. Include key signatures and roman numerals. The cadence chords have been analyzed for you in each example. Make a diagram of each excerpt similar to the diagrams used in the text. Include phrase labels a, b, and so on , and cadence types and measures. Name the form of the example. Diagram and name the form of this excerpt. Each phrase can be analyzed as a sentence. Show x and x' with brackets for each phrase in the score. Schumann, Symphony no. Then complete the following: a. Find the best example of imitation between the melody and the bass. Nonchord tones are in parentheses in the bass only. Note: The best choice for m. Compare m. Anonymous: Minuet in G, from the Notebook for Anna Magdalena Bach 3. Diagram and name the form of this three-phrase excerpt.

How would you explain the descending chords in mm. Haydn, Piano Sonata no. Diagram and name the form of this excerpt, and copy out any rhythmic motives found in both of the phrases. The progression at x resembles an IAC in what key? What is the relationship between that key and e minor? Mendelssohn, Song without Words op. This excerpt contains three phrases some would call it a phrase group. Would it be better to consider it a a three-phrase sentence, b a period with two antecedent phrases, or c a period with two consequent phrases? Which phrase features a circle-offifths sequence? Analyze all the chords in that phrase, and diagram the form of the excerpt. Which interpretation do you prefer? Diagram and name the form of this theme, and then label the first five chords. Also, see if you can find a disguised sequence hidden in the soprano and another in the bass in mm.

Notate the chords in the keys and bass positions indicated. Compose bass lines to the following progressions, inverting harmonies and changing chord labels as necessary. Follow the suggested procedures and explain your decisions. For example, given: Here is the example with mandatory root-position pitches shown: And again with mandatory first-inversion pitches also shown: 87 1. This example starts on beat 3. Begin and end the example with a half note. If the errors are general and apply to the entire example, place the number to the left of the score. If the error occurs over a range of notes, show this with an additional bracket or circle. D minor 2. Compose a good one-to-one counterpoint to the following bass line. You may either write a PAC or a root-position IAC as the final cadence.

Indicate the harmonic intervals formed by the two voices. Compose a good bass line using the root-position progression below, inverting harmonies and changing chord labels as necessary. Then, compose a good one-to-one counterpoint above the bass line. Use an HC for the final cadence. The example starts on beat 3. Compose a good bass line using the two-phrase root-position progression below, inverting harmonies as necessary. Use an HC to end the first phrase and a PAC to end the second phrase. The final chord of each phrase should be a whole note. Note that you do not have to preserve good voice leading over the break between the two phrases. For example, the second phrase can begin with pitches that are disjunct in relation to the previous phrase. Invent a harmonic progression in half notes except for the final pitch, which should be a whole note when the progression begins on beat 1 following the instructions below. Then, compose a good bass line and add a good one-to-one counterpoint above that bass line.

Embellish the one-to-one counterpoint given below. Indicate the harmonic intervals formed by the two voices; then underline the strong-beat labels, and put parentheses around all dissonant pitches. Compose a good one-to-one counterpoint for the progression given below, inverting harmonies and changing chord labels as necessary. Then, on a different staff, compose an embellished version of that counterpoint with passing tones and arpeggiations. Add labels and parentheses as described above. One-to-one version: 91 Embellished version: C. Make up a progression with the parameters given below. Then, compose a good oneto-one counterpoint. Finally, on a different staff, compose an embellished version. Add labels and parentheses as described on the previous page. Go back to Example p. Always show the interval classification 4—3 and so on when you analyze suspensions. Analyze the chords and NCTs in this excerpt. Do any voice-leading problems appear to have been covered up by the embellishments?

Discuss the reasons for the leap in the tenor in m. After reviewing Suspensions and Retardations on pages —, decide what one suspension would be best in each excerpt that follows. Then, renotate with that suspension and at least one other embellishment. Remember to put parentheses around NCTs and to label NCTs and arpeggiations. The following example is a simplified excerpt from a Bach chorale harmonization. Label the chords with roman numerals and activate the texture with stepwise NCTs, including at least one suspension. Label all embellishments. For each figured bass, do the following: 1. Analyze the harmonies with roman numerals. Compose a simple but musical soprano line. Add some stepwise NCTs to each example and label them.

Add one or two inner parts, as specified. Show with an x every possible location for a 9—8, 7—6, 4—3, or 2—3 suspension. Create an elaborated version of the simple texture, including at least one suspension. Other embellishments should be limited to arpeggiations and stepwise NCTs. Remember that diminished triads should be used in first inversion. Four-part texture. Compose your own harmonic progression and follow the instructions for Part E. Try a two, three, or four-part texture. Analyze the chords implied by this two-voice framework. Then, embellish the framework in an arrangement for string quartet. A suggested beginning is given. Continue your solution to Part G to form a parallel period.

Go back to Example on page of the text, where NCTs are shown in parentheses, and identify the type of each NCT in the following blanks. Always show the interval classification 7—6 and so on when you analyze suspensions. Do the same for Example on pages — of the text. Do the same for Example on page Label chords and NCTs in this excerpt. The chords in this excerpt have been labeled for you. Put parentheses around all NCTs in mm. The last three measures are included for context, but they are not part of this exercise. Clara Wieck Schumann, Larghetto, op. NCTs in jazz and popular melodies tend to be used in ways that are not typical of music of earlier centuries.

See if you can identify some instances here. Using a three-part texture, write authentic cadences in five different keys, employing a different NCT from the following list in each cadence: p, n, ant, app, e. Use three chords in each example. Analyze the chords in this phrase with roman numerals. Renotate the phrase on the following staves, adding at least four NCTs, at least two of which should be suspensions. Label all the NCTs, and show the interval classifications of the suspensions. Compose a simple melody for each figured bass below and fill in inner voices to make a four-part texture.

Include some of the NCTs studied in this chapter. Analyze chords and NCTs. Compose a passage in four parts in the key of b minor, employing a 7—6 suspension near the beginning and a tonic pedal near the end. Compose eight measures to continue Part A, number 3, on page 72 of this workbook. Maintain a similar texture and end with a PAC. Include an NCT studied in this chapter. Embellish the framework, turning it into a vocal part to be sung on neutral syllables with piano accompaniment. Try to include at least one chromatic NCT. The note given in each case is the root, 3rd, 5th, or 7th of a V7 chord. Notate the chord in root position, and name the major key in which it would be the V7. Analyze chords and NCTs in the following excerpt, including roman numerals and lead-sheet symbols. Then, discuss the voice leading in the two V7 chords. Note: You might have analyzed the Bs in the V chords as passing tones, but consider them to be chord 7ths for the purposes of your discussion.

Resolve each chord to a root-position I. Note: c means complete chord, i means incomplete chord. Notate the key signature and the V7 chord, and then resolve it. Analyze the chords specified by this figured bass, using roman numerals and lead-sheet symbols. Then, make two harmonizations: one for SAB chorus and one for SATB chorus. Analyze the chords implied by the following soprano and bass lines. Then, fill in the inner parts. Remember that the tenor part sounds a P8 lower than written. Then, make fourpart versions with embellishments and at least one root-position V7 chord. Set a short text for four-part chorus. The text might be a poem, a headline from a newspaper, or anything.

Include at least one V7—I progression. Try to keep the motion going through the use of elaborations. Compose a period in a simple three-part texture. End the first phrase with a V7—vi DC, the second with a V7—I PAC. Then, create a version for three instruments, the top part being elaborated by arpeggiations and NCTs, the other two parts in an accompanying role. Turn in both versions. Notate the specified chords. Use accidentals instead of key signatures. English pages PDF 20 MB For over two decades Tonal Harmony has been the leading text for the two-year theory curriculum for music majors. Used at nearly 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, students can purchase a CD of recorded examples for use with the textbook, while audio examples for the workbook are available for download as MP3 files. For instructors, an extensive Instructor's Manual is available and rounds out this comprehensive teaching package. download from any file hoster with just one LinkSnappy account download from more than file hosters at once with LinkSnappy. this post says it's the actual book but the file provided is actually just the workbook.

Toc: Cover Page 1 Title Page 4 Copyright Page 5 Contents Page 6 CHAPTER 1 Elements of Pitch Page 8 CHAPTER 2 Elements of Rhythm Page 18 CHAPTER 3 Introduction to Triads and Seventh Chords Page 26 CHAPTER 4 Diatonic Chords in Major and Minor Keys Page 38 CHAPTER 5 Principles of Voice Leading Page 42 CHAPTER 6 Root-Position Part Writing Page 48 CHAPTER 7 Harmonic Progression and the Sequence Page 62 CHAPTER 8 Triads in First Inversion Page 68 CHAPTER 9 Triads in Second Inversion Page 78 CHAPTER 10 Cadences, Phrases, Periods, and Sentences Page 86 CHAPTER 11 Two-Part Tonal Counterpoint Page 94 CHAPTER 12 Nonchord Tones Page 98 CHAPTER 13 Nonchord Tones Page CHAPTER 14 The V[sup 7 ] Chord Page CHAPTER 15 Other Diatonic Seventh Chords Page CHAPTER 16 Secondary Functions Page CHAPTER 17 Secondary Functions Page CHAPTER 18 Modulations Using Diatonic Common Chords Page CHAPTER 19 Some Other Modulatory Techniques Page CHAPTER 20 Larger Forms Page CHAPTER 21 Mode Mixture and the Neapolitan Page CHAPTER 22 Augmented Sixth Chords Page CHAPTER 23 Enharmonic Spellings and Enharmonic Modulations Page CHAPTER 24 Further Elements of the Harmonic Vocabulary Page CHAPTER 25 Tonal Harmony in the Late Nineteenth Century Page CHAPTER 26 Materials and Techniques Page CHAPTER 27 Post-Tonal Theory Page CHAPTER 28 New Directions Page Home Art Music Workbook For Tonal Harmony [PDF] Includes Multiple formats No login requirement Instant download Verified by our users.

Workbook For Tonal Harmony [PDF] Authors: Stefan Kostka PDF Art , Music Add to Wishlist Share. This document was uploaded by our user. The uploader already confirmed that they had the permission to publish it. Report DMCA. Copyright © by McGraw-Hill Education. All rights reserved. Printed in the United States of America. Previous editions © , , and No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of McGraw-Hill Education, including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning.

Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. Name the pitches in the blanks provided, using the correct octave register designations. Notate the indicated pitches on the staff in the correct octave. Notate the specified scales using accidentals, not key signatures. Show the placement of whole and half steps, as in the example. Identify these major key signatures. Notate the specified key signatures. Fill in the blanks. five sharps 8. seven flats 5. two flats 6. six sharps E. Fill in the blanks, using the example as a model. Major Key Ex. The melodic minor should be written both ascending and descending. Identify the type of each scale as major, natural minor, harmonic minor, or melodic minor. Any melodic minor scales will be shown in the ascending version only. Identify these minor key signatures. Notate the specified minor key signatures.

Key signature 1. Provide the numerical names of the intervals by using the numbers 1 through 8. EXERCISE A. All the following intervals are unisons, 4ths, 5ths, or octaves. All the following intervals are 2nds, 3rds, 6ths, or 7ths. Notate the specified intervals above the given notes. Most of the intervals that follow are either augmented or diminished. Name each interval. Label what each interval becomes when it is inverted. Notate the specified interval below the given note. You might find it helpful to invert the interval first in some cases. Interval 10 is from the F4 to the C5. Remember that an accidental remains in effect until the end of the measure, unless it is canceled. m2 Show how many notes or rests of the shorter duration would be required to equal the longer duration.

Sing aloud each of the following songs. Then identify the meter type of each, using the terms duple, triple, and quadruple. Scale review. Fill in the blanks, using the melodic minor for all minor-key examples. Beat and Meter Type 1. Simple triple 3. Simple duple 4. Beat Note Division of the Beat Time Signature �� 2 Simple quadruple B. Renotate the excerpts from textbook Example using the specified time signatures. Division of the Beat Time Signature Compound triple 6 16 12 Compound duple 9 2. Beat Note 5. Compound quadruple 2. Beat Note Division of the Beat Time Signature 4 6 �� 9 B. Each measure below is incomplete.

Add one or more rests to the end of each to complete the measure. Provide the best time signature for each exercise. In some cases, more than one correct answer might be possible. Each of the following fragments is notated so that the placement of the beats is obscured in some fashion. Without changing the way the music will sound, rewrite each one to clarify the beat placement. This may involve breaking some of the long notes into tied shorter notes or rebeaming groups of notes. Add stems as required.

Tonal Harmony 7 edition by Stefan Kostka and Dorothy Payne PDF,Uploaded by

WebTonal Harmony 7th Edition Pdf Download Free Dr Dre Deep Water Download Gakuen K Psp Iso Download Download Latest Naija Dj Mix Star Wars The Clone Wars Season 1 WebFor a generation of professionals in the musical community, Tonal Harmony has provided a comprehensive, yet accessible and highly practical, set of tools for understanding music. WebTonal Harmony Seventh Edition Pdf Getting the books Tonal Harmony Seventh Edition Pdf now is not type of challenging means. You could not forlorn going when ebook heap WebAs this Tonal Harmony Seventh Edition Pdf Pdf, it ends taking place bodily one of the favored book Tonal Harmony Seventh Edition Pdf Pdf collections that we have. This is WebUpload & Share PDF | DocDroid WebYou can download PDF versions of the user's guide, manuals and ebooks about tonal harmony 7th edition, you can also find and download for free A free online manual ... read more

Save Save Tonal-Harmony Stefan Kostka For Later. Her Body and Other Parties: Stories Her Body and Other Parties: Stories. Then, find a smooth way to lead into the given chord. Tonal Harmony [PDF]. For instance, the key of G major refers to the major scale that begins on G. Part Two Chapters opens with two chapters on the principles of voice leading, with practice limited to root position triads. pdf Download Tonal-harmony-with-an-introduction-to-twentieth-century-music-workbook-pdf

Where do they occur? ered §,6, and " B, Identify these major key signatures. Label all embellishments. Diagram and name the form of this excerpt, and copy out any rhythmic motives found in both of the phrases. Previous editions ©, and Bracket those arch contours in the melody. Compose a short piece that features whole-tone chords.