Tonal Harmony, with an Introduction to Twentieth-Century Music¶
Kostka, S., & Payne, D. (1984). Tonal Harmony, with an Introduction to Twentieth-Century Music. McGraw-Hill.
Cited by¶
2 citations across 2 artifacts.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Modulation
- Abrupt modulations — direct shifts to distant, non-diatonic keys without pivot preparation — are also available and carry an expressive shock; they are less common in common-practice tonal writing and more available in chromatic and Romantic-era harmonic styles
This sourceKostka and Payne treat direct, unprepared modulation as a technique alongside common-chord modulation and give the enharmonic and chromatic modulations of the later nineteenth century their own chapters; the characterisation of abrupt modulation as expressively shocking and comparatively rare is the article's. The textbook definition of closely related keys - signatures differing by at most one accidental - as the ordinary modulation destinations; grading harmonic surprise by accidental count is the article's own gloss rather than a defined measure.
Supported in partVerified against the source
- Abrupt modulations — direct shifts to distant, non-diatonic keys without pivot preparation — are also available and carry an expressive shock; they are less common in common-practice tonal writing and more available in chromatic and Romantic-era harmonic styles
- Period Structure
- In composition pedagogy, period-writing is a foundational exercise precisely because it disciplines two interacting skills simultaneously: crafting a melodic line with an open-ended quality at the half cadence, and crafting a parallel or contrasting consequent that brings the pair to satisfying closure
This sourceThe instructor's manual for Tonal Harmony works period-writing exercises in parallel and contrasting periods with half cadences.
Supported in partVerified against a saved copy of the source
“The form is a contrasting period.”
- In composition pedagogy, period-writing is a foundational exercise precisely because it disciplines two interacting skills simultaneously: crafting a melodic line with an open-ended quality at the half cadence, and crafting a parallel or contrasting consequent that brings the pair to satisfying closure
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