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catalog contributor b10398971.
catalog created "c1998.".
catalog date "1998".
catalog date "c1998.".
catalog dateCopyrighted "c1998.".
catalog description "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 --".
catalog description "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 --".
catalog description "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 --".
catalog description "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".
catalog description "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 --".
catalog description "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".
catalog description "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".
catalog description "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.".
catalog description "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 --".
catalog description "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".
catalog extent "x, 468 p. :".
catalog hasFormat "Elementary harmony.".
catalog identifier "0132816105 (paper)".
catalog isFormatOf "Elementary harmony.".
catalog issued "1998".
catalog issued "c1998.".
catalog language "eng".
catalog publisher "Upper Saddle River, N.J. : Prentice Hall,".
catalog relation "Elementary harmony.".
catalog subject "781.2/5 21".
catalog subject "Harmony.".
catalog subject "MT50 .O924 1998".
catalog tableOfContents "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 --".
catalog tableOfContents "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 --".
catalog tableOfContents "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 --".
catalog tableOfContents "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".
catalog tableOfContents "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 --".
catalog tableOfContents "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".
catalog tableOfContents "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".
catalog tableOfContents "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.".
catalog tableOfContents "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 --".
catalog tableOfContents "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".
catalog title "Elementary harmony : theory and practice / Robert W. Ottman.".
catalog type "text".