TONALHarmonyWith an Introduction to Post-Tonal Music

Stefan KostkaDorothy PayneByron Almén

EIGHTH EDITION

REINFORCED BINDING

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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.

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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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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