Elementary harmony : theory and practice / Robert W. Ottman.

Format:

Book

Author/Creator:

Ottman, Robert W.

Language:

English

Subjects (All):

Harmony.

Physical Description:

x, 468 pages : music ; 26 cm + 1 audio disc (digital ; 4 3/4 in.)

Edition:

Fifth edition.

Place of Publication:

Upper Saddle River, N.J. : Prentice Hall, [1998]

Summary:

The Fifth Edition of Robert Ottman's Elementary Harmony continues to present a thorough introduction to harmony with continuous step-by-step development and review of concepts and skills. Changes throughout simplify instructor presentations and effect rapid student assimilation of subject matter.

Contents:

1 Basics I: Pitch on the Staff and the Keyboard; Scales; Key Signatures 1

Pitch on the staff 2

Pitch on the keyboard 4

Intervals: Half steps and whole steps 5

Major scales 7

Scale-degree names 8

Major key signatures 8

Minor scales 10

Scale-degree names in minor 12

Minor key signatures 12

The circle of fifths 12

Relative and parallel keys 13

Scales and keys 14

The "Basics Quiz" #1 15

2 Basics II: Intervals; Chords; Staff Notation 19

Intervals 20

Spelling ascending intervals 20

Perfect and major intervals

Minor intervals

Diminished intervals

Augmented intervals

Terminology for other intervals 23

Identifying intervals 23

Inversion of intervals 24

Spelling descending intervals 25

Compound intervals 27

Consonance and dissonance 27

Chords 28

Triads 28

Triads in a key 28

Chords larger than a triad 30

Seventh chords 30

Inversion of chords 31

Figured bass 31

Staff notation 33

Basics Quiz #2 35

Article #1 Pitch Notation from Earliest Times 37

3 Basics III: Duration, Time Signatures 40

Note and rest values 40

Tempo 41

The beat 42

Grouping of beats 42

Varieties of the beat (simple and compound) 42

Time signature (meter signature) 43

Simple time

Compound time

Other interpretations of time signatures 48

In a fast tempo

In a slow tempo

Numerators of 5 and 7; other numerators

Beaming notes for rhythmic clarity 52

Triplets, duplets, and quadruplets 53

Rhythmic transcription 53

Basics Quiz #3 55

Article #2 Early Rhythmic Notation 56

Article #3 What Is Music Theory? 57

4 Tonic and Dominant I: Cadences 59

The cadence 59

The cadence in relation to form 60

Harmony at the cadence (major keys) 61

Spelling tonic and dominant chords (major keys) 63

Article #4 The "Difficult" Triad Spellings 65

Cadences incorporating dominant harmony 66

The cadence in minor keys 70

Spelling tonic and dominant triads (minor keys) 71

Cadences incorporating dissonances 72

Other cadences: The Picardy third and the "empty fifth" 74

Cadences in a melodic line 76

Spelling intervals from major triads 77

Triads outlined in melodies 79

Keyboard harmony 79

Article #5 The Universality of the Cadence 82

5 Tonic and Dominant II: Part-Writing 83

Conventional procedures 85

Writing a single triad 85

The connection of repeated triads 89

Writing the authentic cadence 91

Writing in phrase lengths 97

Harmonizing a melody 99

Keyboard harmony 100

Melody harmonization using lead sheet symbols 102

6 The Subdominant Triad 107

Spelling the subdominant triad 107

Plagal cadences 108

IV or iv in other progressions 111

The subdominant triad in melodic writing 115

Writing the progression IV-I or iv-i 116

Writing the progression IV-V or iv-V 119

Parallel fifths and octaves; the melodic augmented second 119

Keyboard harmony 126

The progression I-IV-V-I 128

Melodic harmonization 128

Article #6 The Three Demons of Part-Writing 130

7 The Melodic Line I 133

Form 133

The phrase

The period

Repetition and sequence

Pitch 142

Intervals and scale passages

The leading tone

Minor keys: The sixth and seventh scale steps

Harmonic implication 149

Rhythm and meter 153

Melodic composition 154

Article #7 Some Varieties of Melodic Expression 157

8 C Clefs; Transposing Clefs 160

C clefs 161

A clef for the tenor voice 165

Transposing instruments 165

Writing for transposing instruments

9 The Triad in Inversion 169

The triad in first inversion 169

The triad in second inversion 173

The cadential six-four chord

The pedal six-four

The passing six-four

Writing a triad in first inversion 179

Writing to or from a triad in first inversion 181

Writing successive triads in first inversion 184

Writing a triad in second inversion 185

Other part-writing considerations 187

The melodic augmented fourth

Overlapping voices

Hidden octaves and hidden fifths

Melody harmonization 191

Keyboard harmony 194

Article #8 The Theory of Inversion 196

Article #9 Figured Bass 202

10 Harmonic Progression; The Leading-Tone Triad and the Supertonic Triad 205

Root movement 205

Harmonic progression 206

Harmonic progressions in minor keys 207

Other common types of progressions 209

The diminished triad 211

The leading-tone triad 212

The supertonic triads 214

Writing the diminished triad 222

Writing to and from the diminished triad 223

Writing the supertonic triad 225

Melody harmonization 228

Keyboard harmony 229

Article #10 The Devil in Music 232

11 Nonharmonic Tones I: Passing Tones and Neighbor Tones 236

Defining nonharmonic tones 236

The passing tone 236

The neighbor tone 240

Writing passing tones and neighbor tones 241

Figured bass symbols

The seventh above the root

Avoiding parallels

Accented nonharmonic tones

Simultaneous nonharmonic tones

Relaxing part-writing procedures to heighten melodic interest 245

12 Nonharmonic Tones II: Suspensions and Other Dissonances 250

The suspension 251

The 4 3 suspension

The 7 6 suspension

The 9 8 suspension

The 2 3 suspension

Special uses of the suspension 257

Change of bass note

The ornamental resolution

Suspensions in the six-four chord

Chain suspensions

The double suspension

Suspensions in instrumental writing

Other nonharmonic tones 261

Retardation

Anticipation

Appoggiatura

Escaped tone

Successive neighbor tones

Pedal

Various other uses of nonharmonic tones 270

Successive different nonharmonic tones

Simultaneous different nonharmonic tones

Unprepared nonharmonic tone

"Consonant" nonharmonic tones

13 The Dominant Seventh and Supertonic Seventh Chords 278

The seventh as a nonharmonic tone 278

Passing tone figure

Suspension figure

Appoggiatura figure

Upper neighbor figure

Characteristics of the dominant seventh chord 281

The supertonic seventh chord 283

Characteristics of the supertonic seventh chord 284

Intervals in the V[superscript 7] chord 292

The V[superscript 7] chord in the melodic line 292

Keyboard harmony 294

14 The Submediant and Mediant Triads 296

Root movement by downward thirds 297

Root movement by downward fifths 298

Root movement by seconds; the deceptive cadence 299

The vi-iii-IV progression 303

Inversions of the submediant and mediant triads 305

Writing the submediant and mediant triads 308

Keyboard harmony 317

Melody harmonization 319

15 The Melodic Line II: Form, continued; Melody Harmonization, continued; Melody Writing 320

Melodic extensions 320

The phrase group and the double period 324

Extension in motivic development 327

Harmonizing a melody without lead sheet symbols 331

Tempo

Harmonic rhythm

Differentiating chord tones and nonharmonic tones

Application to the keyboard 336

Melody writing 339

Article #11 Another Metrical Concept 343

16 The v and VII Triads; the Phrygian Cadence 347

The minor dominant triad (v) 347

The subtonic triad (VII) 350

The progression iv-VII 351

The triads vi° and III+ 351

Half cadences; the Phrygian cadence 351

Writing the v and VII triads in a minor key 356

Writing the Phrygian cadence 358

Keyboard harmony 364

17 Harmonic Sequence 366

Sequence: Roots down a fifth and up a fourth 368

Sequence: Roots up a fifth and down a fourth 369

Sequence: Roots down a third and up a fourth 370

Sequence: Roots down a third and up a second 374

Sequence: Roots down a fourth and up a second 375

First inversion in series 376

Writing sequences 381

18 Secondary Dominant Chords; Elementary Modulation 385

Chromaticism 385

Secondary dominant chords 385

Spelling secondary dominants 388

Use of secondary dominant 389

Article #12 The Hemiola 391

The deceptive progression 393

Secondary dominant chords in the harmonic sequence 394

The V/V at the cadence 396

Modulation 398

Return to the original key 401

Modulation or secondary dominants in the melodic line 409

Writing secondary dominant chords 411

Keyboard harmony 417

Appendix A The Essentials of Part-Writing 420

Conventional Procedures

Appendix B Instrumentation 423

Ranges

Clefs

Transposition

Appendix C Elementary Acoustics 428

Appendix D The Medieval Modes 433

Appendix E Answer Key 438.

Notes:

Includes indexes.

ISBN:

0132816105

OCLC:

37156290