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eBook Advanced Harmony: Theory and Practice ePub

by Robert W. Ottman

eBook Advanced Harmony: Theory and Practice ePub
Author: Robert W. Ottman
Language: English
ISBN: 0130113700
ISBN13: 978-0130113702
Publisher: Prentice Hall; 3rd edition (March 1, 1984)
Pages: 408
Category: Music
Subcategory: Photo
Rating: 4.2
Votes: 624
Formats: lit mbr azw docx
ePub file: 1543 kb
Fb2 file: 1251 kb

Elementary Harmony: Theory and Practice. This is a useful and practical book for the practicing musician wanting to become proficient with the (advanced) basics of harmonic grammar.

Elementary Harmony: Theory and Practice.

FREE shipping on qualifying offers Author Robert W. Ottman presents a wide variety of music examples from music literature and applies material learned to written and keyboard/harmony study programs.

FREE shipping on qualifying offers. Advanced Harmony: Theory and Practice presents a systematic study of the principles of harmonic composition as developed by the composers of the 17th to the 19th centuries. The text applies an incremental learning approach to the academic aspect of music and applies newly acquired knowledge to the writing of music. Covers topics such as modulation. Author Robert W.

A companion text to Ottmans Elementary Harmony, 4/e, this volume completes the studies in 18th-19th century harmony and concludes with three chapters designed as an introduction to twentieth century composition. the information inside of it is invaluable. A solid and practical guide to the advanced topics of basic harmonic grammar. com User, February 25, 2008.

Advanced Harmony book. Goodreads helps you keep track of books you want to read. Start by marking Advanced Harmony: Theory and Practice as Want to Read: Want to Read savin. ant to Read. Kullanıcılar ne diyor? - Eleştiri yazın. Secondary Leading Tone Seventh Chords 43 Regular Resolution of Secondary.

the melodic line (II).

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Robert W Ottman - Elementary HARMONY Theory and Practice - Free ebook download as PDF File . df), Text File . xt) or read book online for free. Marque por contenido inapropiado para más tarde.

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Author Robert W. Ottman presents a wide variety of music examples from music literature and applies material learned to written and keyboard/harmony study programs.
Pryl
This item met my expectations. It was really good. I will gladly do business with this seller again.
Sarin
Good deal
Cezel
I have many fond memories with this book and with Music Theory in general. Thanks for being a huge part of my life!
Wetiwavas
I'm a music major at Midwestern state university...
I needed this book for theory III and ear training/sight seeing III...
even though there is no image available this book is the right one...
the information inside of it is invaluable
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condition better than anticipated.
lucky kitten
When I was in music school, we used Robert Ottman's Sight Singing book, and I still think the current edition is terrific. He also wrote texts on elementary harmony and this text on advanced harmony. This is an interesting and practical guide to the basics of harmony. The subtitle is "theory and practice" and that is right, but by theory it really means musical grammar and the emphasis in the book is really on practice. What have composers actually done, what to look for, and how to hear it.

The text is concise, without long and labored explanations. However, for those who want detailed explanations of harmony, it might seem terse. The real emphasis in this text is on the rich selection of musical examples. A CD accompanies the text that plays the musical samples so the student can hear them (if you can't hear them by looking at them music or play them on your piano). So, the text is really for a practicing musician who wants to know the steps, say, to a "pivot chord" without an extended explication of the implications of such a thing.

Ottman also deals with aspects of orchestration, figuration, and musical form. Again, his approach is always practical and does not delve into the topics in an extended way. He lets the student examine the musical samples to get the point of what the text says. I think this is the way musicians actually prefer learning about music, anyway. If they wanted to read lots of text they would have pursued a different profession, right? Sure, those of us who study music theory dig into things a bit differently, but it is the music analysis written in some form of notation we always find most compelling.

This book begins with modulation and has chapters on diminished triads, seventh chords, secondary leading tone functions, modulation using diminished seventh chords, binary and ternary forms, extending part-writing to instrumental music, diatonic seventh chords, chromatic chords, augmented sixth chords and their uses, ninth - eleventh & thirteenth chords, special chords and progressions, harmony in the late 19th Century, Debussy and Impressionism, and post Debussy 20th Century music, and ends with a chapter on Serialism.

Appendix A covers conventional procedures for part-writing. Appendix B provides information on orchestration (instrumental ranges and transpositions). There is also an index of compositions, and a subject index.

This is a useful and practical book for the practicing musician wanting to become proficient with the (advanced) basics of harmonic grammar.

Reviewed by Craig Matteson, Ann Arbor, MI

Ottman's Elementary Harmony:
Elementary Harmony Theory and Practice

Ottman's Sight Singing 7th edition:
Music for Sight Singing (7th Edition)
Nidor
I immediately saw some questionable analyses in this book. I'll note an example below. Also, I don't understand the consistent, simplistic analysis of a single pivot chord as establishment of modulation. The analysis should be broader in terms of the overlapping of dually interpreted regions. In many examples used by Ottman, successive regions (as opposed to a single pivot chord) should be identified as part of a more sophisticated interpretation of modulation.

Also, I don't understand the value in using figured bass as part of a text on advanced harmony. Sure, a brief explanation of figured bass in elementary harmony books would explain the conventional use of the terms "6 chords" and "4-3 chords" etc., but this should only serve to explain common usage of inversion identification. Beyond that, someone would need to explain the value in the figured bass exercises I see here?

Maybe one example of misinterpretation will relate my dissatisfaction with the text. I use this example, because I see consistent misinterpretation of diminished chords in the text. By the way, I likely have an older edition (third). In a harmonic analysis of Schubert's Sonata in B flat Major measures 42-48, Ottman sees the harmonic progression of I (B flat major) - V - vii/ii (single pivot chord - a diminished chord/vagrant harmony then reinterpreted as vii of the new key of F# minor, an altered root of tonic major!??!) - then V f# minor - I of f# minor.

I strongly disagree with this analysis. A more logical explanation of this modultion should consider the interchangeability of major and minor with a simple modulation to the closely related region of submediant minor via the regions path of tonic major - tonic minor - to tonic minor's submediant minor enharmonically presented as f# minor. The diminished chord is better dually interpreted as altered III of tonic minor and dually V of submediant minor with the root initially omitted, the dissonance b9 resolving to the root of the V7 chord leading to the Gb minor tonic enharmonically established as f# minor. This way the analysis of the minor tonic region (interchange of major to minor at the second chord, a shared dominant) is the simple logical progression I-V-III-VI overlapping (beginning at the diminished chord) with the submediant minor region progression of V (altered) - V7 - I. This seems more logical than I - V - VII/II (II never realized) - then, that VII/II of tonic becomes VII of the very remote region of either mediant major's mediant minor or enharmonically flat submediant minor of the major tonic region - followed finally by V7 - I of the new region.

I truly feel that these misunderstandings will establish lasting problems in students' learning of the structure of functional harmony. Sorry for being long-winded, and I understand that my presentation of the example is difficult to read without the music here referenced. I feel that the serious musician's development would be seriously misguided by the text. As an alternative, I personally like Schoenberg's works on harmony. I hope this helps someone! Thanks
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