Tonal Harmony, 8 edition by Stefan Kostka Tonal Harmony and Dorothy Payne Tonal Harmony

Thank you!! Do you have the audio files??

Thank you very much!

In fact this book works better with the audio that comes with it.

SYNTHETIC SCALES in Post-Tonal addendum of this 8 editon.
Calling the "Whole Tone Scale" of synthetic scale is a very stupid and idiosyncratic way of reasoning, and from the point of view of when the minor harmonic scale was discoverd by human perception, it was artificially added a sensible #7 degree in it to cause a more pronounced resolution, in resume, a tonicization to the octave. The same way as the major scale, being that relative minor should respect its major origin , 'J.S.Bach' questioned this during the Baroque period and used the minor scale that was named 'natural scale', and by us called the 'Bachian scale', although he has used all three, as well as the minor Harmonic and melodic scales.

Only now after all that was 'said' and done at the end of the nineteenth and twentieth century, did we realize that even the larger scale is only a reference in scales, it is the scale of greater comfort for human hearing as well the relative minor one, that, contains sinuous ways to create mystery inside the music.
I think that 'Indiana University' has to update itself on concepts that the whole world uses today, one of them is to stop calling theory what is not theory, to stop theorizing or to launch new theories, which are mere hypotheses, since they didn't even have a 'contrary-hypothesis' to confront their hypothetical thoughts.

The Russians have the 'Octatonic Scale', and the Russian Stravinsky created his own scales, which was called sonority, so as not to irritate some idiosyncratic owners of universal music who never composed one single song or music, but they love to theorize the ideas of the others.

Therefore, very careful with this term "Post-Tonal Harmony", someone is trying to contribute something else useless, when almost everything has already been said and done, which obviously refer to the ideas of Plato (Greek) and Paul Bowles (USA).

I will always respect the works of kostka and Payne and I know that they are not the creators of any kind of nomenclature, but, an unknown name in the musical world that this book brings, that tries to cover a theme of which try to establish new rules, which it is unfortunate, but worse, out of the country where everything started to be used, it is much pretense to create post nomenclatures.
Since everything can still be explained with the old traditional harmony with some package inserts and addendums created by the proper composers.

Does anyone have the audio examples and most important the answers to the workbook of any of the editions?
Thanks!