Tonal Harmony
by Stefan Kostka, Byron Almén
9th Edition
Publisher: McGraw-Hill Higher Education
Book Details
| Print ISBN | 9781264094752 |
| eText ISBN | 9781265308902 |
| Publisher | McGraw-Hill Higher Education |
| Publishing Year | 2024 |
| Edition | 9th Edition |
| Language | English |
| Pages | 704 |
Tonal Harmony, 9th Edition, authored by Stefan Kostka with Byron Almén, is a music theory textbook designed for college and university classrooms. Published by McGraw-Hill Higher Education, this comprehensive volume presents the analytical tools and compositional practices of Western music from the seventeenth century through the modern era.
The early coverage establishes foundational principles of voice leading, root-position part writing, and harmonic progression. Students engage with fundamental pitch elements, rhythm, diatonic triads, nonchord tones, and diatonic seventh chords while studying two-part tonal counterpoint and structural musical forms such as periods and phrases.
Later thematic arcs move into chromaticism, secondary functions, diatonic common-chord modulation, mode mixture, Neapolitan chords, and augmented sixth chords. The textbook concludes with an introduction to post-tonal music theory, modern scale materials, and post-tonal chord structures, aligning directly with a standard two-year course in music theory and harmony.
Table of Contents
Chapter One: Elements of Pitch
- • The Keyboard and Octave Registers
- • Notation on the Staff
- • The Major Scale
- • The Major Key Signatures
- • Minor Scales
- • Minor Key Signatures
- • Scale Degree Names
- • Intervals
- • Perfect, Major, and Minor Intervals
- • Augmented and Diminished Intervals
- • Inversion of Intervals
- • Consonant and Dissonant Harmonic Intervals
- • Summary
Chapter Two: 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 Three: 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 Four: 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
Chapter Five: Principles of Voice Leading
- • Introduction
- • The Melodic Line
- • Notating Chords
- • Voicing a Single Triad
- • Parallel Motion
- • Summary
Chapter Six: 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
Chapter Seven: Harmonic Progression and the Sequence
- • 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
Chapter Eight: 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
Chapter Nine: 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 Ten: Cadences, Phrases, Periods, and Sentences
- • Musical Form
- • Cadences
- • Cadences and Harmonic Rhythm
- • Motives and Phrases
- • Mozart: An die Freude
- • Period Forms
- • The Sentence
- • Summary
Chapter Eleven: Two-Part Tonal Counterpoint
- • Introduction
- • Composing an Unembellished Bass Line
- • Composing a Counterpoint to the Bass Line
- • Composing the Contrapuntal Voice
- • Writing Your Own Harmonic Progressions
- • Summary
Chapter Twelve: Nonchord Tones 1
- • Introduction
- • Classification of Nonchord Tones
- • Passing Tones
- • Tonal Counterpoint Revisited: Adding Motion on the Weak Beats
- • Contrapuntal Considerations
- • Embellished Cadences
- • Embellishing Versus Composing
- • Composing the Contrapuntal Voice
- • Neighboring Tones
- • Suspensions and Retardations
- • Embellishing a Simple Texture
- • Figured-Bass and Lead-Sheet Symbols
- • Summary
Chapter Thirteen: Nonchord Tones 2
- • Appoggiaturas
- • Escape Tones
- • The Neighbor Group
- • Anticipations
- • The Pedal Point
- • Special Problems in the Analysis of Nonchord Tones
- • Summary
Chapter Fourteen: The V[sup(7)] Chord
- • Introduction
- • General Voice-Leading Considerations
- • The Approach to the 7th
- • The V[sup(7)] in Root Position
- • The V[sup(7)] in Three Parts
- • Other Resolutions of the V[sup(7)]
- • The Inverted V[sup(7)] Chord
- • The V[sup(6)][sub(5)]Chord
- • The V[sup(4)][sub(3)]Chord
- • The V[sup(4)][sub(2)]Chord
- • Summary
Chapter Fifteen: Other Diatonic Seventh Chords
- • Introduction
- • The II[sup(7)] Chord
- • The VII[sup(7)] Chord in Major
- • The VII[sup(7)] Chord in Minor
- • The IV[sup(7)] Chord
- • The VI[sup(7)] Chord
- • The I[sup(7)] Chord
- • The III[sup(7)] Chord
- • Seventh Chords and the Circle-of-Fifths Sequence
- • Summary
Chapter Sixteen: 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
Chapter Seventeen: 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 Eighteen: Modulations Using Diatonic Common Chords
- • Modulation and Change of Key
- • Modulation and Tonicization
- • Key Relationships
- • Common-Chord Modulation
- • Analyzing Common-Chord Modulation
- • Summary
Chapter Nineteen: Some Other Modulatory Techniques
- • Altered Chords as Common Chords
- • Sequential Modulation
- • Modulation by Common Tone
- • Monophonic Modulation
- • Direct Modulation
- • Summary
Chapter Twenty: Larger Forms
- • Formal Terminology
- • Binary Forms
- • Ternary Forms
- • Rounded Binary Forms
- • The 12-Bar Blues
- • Other Forms with Ternary Design
- • Sonata Form
- • Rondo Form
- • Summary
Chapter Twenty-One: Mode Mixture and the Neapolitan
- • Introduction
- • Borrowed Chords in Minor
- • Borrowed Chords in Major: The Use of ♭ê
- • Other Borrowed Chords in Major
- • The Neapolitan Chord
- • Modulations Involving Mode Mixture and the Neapolitan
- • Summary
Chapter Twenty-Two: 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 Conventional Augmented Sixth Chords
- • Other Bass Positions
- • Resolutions to Other Scale Degrees
- • Summary
Chapter Twenty-Three: 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
Chapter Twenty-Four: 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
- • Summary
Chapter Twenty-Five: 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
Chapter Twenty-Six: Materials and Techniques
- • Introduction
- • Scale Materials
- • Chord Structures
- • Other Concepts
- • Rhythm and Meter
- • Summary
Chapter Twenty-Seven: Post-Tonal Theory
- • Introduction
- • Basic Atonal Theory
- • Twelve-Tone Serialism
- • Integral Serialism
- • Summary
Chapter Twenty-Eight: New Directions
- • Introduction
- • Explorations of Texture, Timbre, and Tuning
- • Indeterminacy
- • Minimalism
- • Electronic and Computer Music
- • Summary and a Forward Look
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