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TONALHarmonyWith an Introduction to Post-Tonal Music
Stefan KostkaDorothy PayneByron Almén
EIGHTH EDITION
REINFORCED BINDING
NEW
AP® Music TheoryTonal Harmony 8th Edition, © 2018
Kostka
95
Chapter SevenHarmonic Progression and the Sequence
IntroductionTonal harmony developed slowly out of the great polyphonic* modal tradition of the Renaissance period (from around 1430 to about 1600). That Renaissance tradition depended in turn on the “rules” of counterpoint that had begun to be developed in the late Middle Ages. The application of those rules resulted in certain recurring and recognizable combina-tions of chords, and out of that, the norms of tonal harmony gradually coalesced, norms that form the heart of this chapter. Let us be clear: Tonal harmony was not “invented”; it devel-oped from counterpoint. Yet harmony can be, and frequently is, taught as a separate subject from counterpoint in colleges and universities. In this text, we have already alluded to basic contrapuntal principles of good melodic writing (p. 66). In future chapters (pp. 122, and 171), we will consider the relationship of harmony and melody in greater detail. Before you can begin to compose convincing tonal music or to learn anything from har-monic analyses, you must learn which chord successions are typical of tonal harmony and which ones are not. Why is it that some chord successions seem to “progress,” to move for-ward toward a goal, whereas others tend to wander, to leave our expectations unfulfilled? Compare the two progressions in Example 7-1. The first was composed following the prin-ciples that will be discussed in this chapter, but the chords for the second were selected randomly. Although the random example has a certain freshness to it, there is no doubt that the first one sounds more typical of tonal harmony. This chapter will explore this phenom-enon, but first we must turn to a topic that concerns melody as well as harmony.
Example 7-1
* Music with multiple voice parts, in contrast to monophonic, single-part music.
kos4709X_ch07_095-113.indd 95 10/01/17 10:35 AM
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*AP®, Advanced Placement®, and Advanced Placement Program® are trademarks registered by the College Board, which was not involved in the production of, and does not endorse, these products.
Leading Text, Direct ApproachFor more than two decades, Tonal Harmony has been the leading text for AP Music Theory. Used at nearly 800 schools, Tonal Harmony is consistently praised for its practicality and ease of use for student and teacher alike. The straightforward approach is supported by well-chosen examples, thoughtful exercises, and a total presentation compatible with differing teaching styles and theoretical points of view.
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AP16M09342
Table of Contents
AP® Music Theory
NEW
Note: 1-Year ISBN bundles are available on the AP price list.
*AP®, Advanced Placement®, and Advanced Placement Program® are trademarks registered by the College Board, which was not involved in the production of, and does not endorse, these products.
Personalized Learning for AP Music Theory
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ISBN List
PART 1 Fundamentals
CHAPTER 1 Elements of Pitch
CHAPTER 2 Elements of Rhythm
CHAPTER 3 Introduction to Triads and Seventh Chords
CHAPTER 4 Diatonic Chords in Major and Minor Keys
PART 2 Diatonic Triads
CHAPTER 5 Principles of Voice Leading
CHAPTER 6 Root Position Part Writing
CHAPTER 7 Harmonic Progression
CHAPTER 8 Triads in First Inversion
CHAPTER 9 Triads in Second Inversion
CHAPTER 10 Cadences, Phrases, Periods, and Sentences
CHAPTER 11 Two-Part Tonal Counterpoint
CHAPTER 12 Nonchord Tones 1
CHAPTER 13 Nonchord Tones 2
PART 3 Diatonic Seventh Chords
CHAPTER 14 The V7 Chord
CHAPTER 15 Other Diatonic Seventh Chords
PART 4 Chromaticism
CHAPTER 16 Secondary Functions 1
CHAPTER 17 Secondary Functions 2
CHAPTER 18 Modulations Using Diatonic Common Chords
CHAPTER 19 Some Other Modulatory Techniques
CHAPTER 20 Binary and Ternary Forms
PART 5 Chromaticism 2
CHAPTER 21 Mode Mixture and the Neapolitan
CHAPTER 22 Augmented Sixth Chords
CHAPTER 23 Enharmonic Spellings and Enharmonic Modulations
CHAPTER 24 Further Elements of the Harmonic Vocabulary
CHAPTER 25 Tonal Harmony in the Late Nineteenth Century
PART 6 An Introduction to Twentieth-Century Music
CHAPTER 26 Materials and Techniques
CHAPTER 27 Post-Tonal Theory
CHAPTER 28 New Directions