| Contents |
A review of fundamentals -- Rhythm -- Scales, keys, and modes -- Intervals -- Triads -- Seventh chords -- Voice leading and four-part writing -- Harmonic progression -- Nonharmonic tones -- Melody -- Musical structure -- Secondary dominants and dominant sevenths -- Functions of diminished chords -- Borrowed functions: movements and regions -- The Neapolitan chord -- German, French, and Italian augmented sixth chords -- Upper partial chords: ninths, elevenths, and thirteenths -- Stepwise, mediant, and tritone relationships -- Modulation -- Secundal, quartal, and quintal harmony. |
| Contents |
A review of fundamentals. Pitch representation. Pitches ; Staves ; Accidentals and enharmonic spellings -- Time and meter. Note and rest values ; Beats -- Rhythm. The temporal factor -- Meter. Time signatures ; Beaming ; Dots and ties ; Simple, compound, and asymmetrical meter ; Historical perspective ; Compound meter expanded -- Other divisions and interpretations of the beat. Triplets ; Duplets -- Complex groupings. Constant values over one beat ; Variable beats over one or more beats ; Rhythmic notation -- Counting and rendering of rhythmic figures. The half-beat concept ; Intrinsically normal accents ; Anacrusis ; Syncopation ; Counting beat divisions of less than half -- Articulation and interpretation -- Scales, keys, and modes. Scales -- Major-scale construction -- Minor-scale construction. Relative minor scales ; The natural or pure minor scale ; The harmonic minor scale ; The melodic minor scale ; Technical names of scale degrees -- Keys and key signature. Parallel scale and key relationships ; Several other commonly used scale types ; The circle of fifths ; Tetrachords -- Modes. Mode transposition -- Intervals. Basic notions -- Interval distance. Using key and scale ; Using the major key of the lower note -- Interval quality. Major intervals ; Perfect intervals ; Minor intervals ; Augmented intervals ; Doubly augmented intervals ; Diminished intervals ; Doubly diminished intervals ; Simple and compound intervals ; Inversion of intervals -- Interval characteristics. Consonance and dissonance ; Subjective aural evaluation ; Consonant intervals ; Dissonant intervals ; Pitch tendency ; Interval-resolution tendency -- Triads. Triad qualities. Major triads ; Minor triads ; Diminished triads ; Augmented triads -- Triad construction -- Numerical designation and identification of triads -- Triads in scales and modes. Triads derived from major and minor scales ; Triads in modes -- Inversion of triads -- Note-spacing in triads -- The figured-bass system. Identifying root position and inversions of triads -- Identifying spread-position triads -- Popular-music formats -- Seventh chords. Seventh-chord qualities. Diatonic sevenths in major scales ; Diatonic sevenths in minor scales -- Inversions of seventh chords in traditional practice. Root position ; Inversions -- Numerical labeling. Precise labeling of seventh chords ; Seventh chords in popular music -- Diatonic seventh and hybrid types -- Inversions of seventh chords in popular music -- Intervallic configuration of seventh chords -- More on hybrid types -- Dominant and nondominant seventh chords -- Extension of tertian construction -- Voice leading and four-part writing. Pitch tendency within the major scale. The tonic ; The supertonic ; The mediant ; The subdominant ; The dominant ; The overtone series ; The submediant ; The leading tone -- Chorale style and four-part writing. Chorale style ; Why four-part writing? ; Overview of chorale style ; General procedures for four-part writing -- Voice leading of triads and dominant seventh chords. Triads ; Six-four inversions ; Dominant seventh chords -- Voice leading of diminished and augmented chords. Resolution of seventh chords ; The III+7 chord ; The vii[degree sign with a backward slash across it]⁷ and vii°⁷ chords ; Deceptive resolution of the vii°, vii[degree sign with a backward slash]⁷, and vii°⁷ -- Harmonic progression. Chordal tendencies and musical style. Similarities among triads and sevenths ; Common-practice and popular genres -- Chord movement. The circle progression ; Progressive and retrogressive movements -- Substitution, factors, and chord choice. Substitution by extension of a lower third ; Substitution by extension of a higher third -- More on choosing chords in a progression. The control of tension ; Structural and embellishing chords -- Harmonizing a melody. The structural component ; Determining the key ; Rhythmic stress ; Chord selection in SATB format ; The harmonic accompaniment in a melody -- Nonharmonic tones. Types of nonharmonic tones. The passing tone ; The neighboring tone ; The appoggiatura ; The escape tone ; The suspension ; The retardation ; The anticipation ; The free tone ; The pedal tone ; The organ point ; The cambiata ; Changing tones -- Embellished nonharmonic tones -- Nonharmonic tones in four-part writing -- Nonharmonic tones as a function of melody -- Melody. Melody perception -- Components of melody. The cell ; The motive ; The phrase -- Types of melodies. Melodic development -- Composing melodies. Popular-song writing and traditional compositions -- |
| Contents |
Musical structure. The elements of structure. The single note ; Structure and relationship ; Structural elements at the macro level -- Cadences. The perfect authentic cadence ; The imperfect authentic cadence ; The semicadence ; The plagal cadence ; The deceptive cadence ; The Phrygian and Landini cadences and the Picardy third ; Cadential modifications -- Cadences in popular music. The tritone substitution -- The phrase. Phrase analysis of two works ; Period and phrase types -- Binary and ternary structure. Binary structure ; Ternary structure -- Popular-song structure. The SDR principle -- Structure and improvisation -- An introduction to modulation. Recognizing a modulation ; Types of modulation -- Secondary dominants and dominant sevenths. Chromaticism and diatonicism -- Secondary-dominant chords. Origin and derivation ; Inversions ; Assessment -- Secondary-dominant seventh chords. Inversions and introductory remarks on resolution -- Resolutions of secondary-dominant chords. Deceptive resolutions ; V/V and V7/V to the tonic six-four ; Circle progressions ; The V7/IV ; Unusual resolutions -- Functions of diminished chords. Description and location of diatonic diminished chords -- Embellishing function of diminished chords. Origin of diminished chords ; The vii° and V7 ; The vii[degree sign with a backward slash across it]⁷, vii°⁷, and V7 -- Applications. The secondary vii° ; Secondary fully and half-diminished sevenths ; Deceptive resolution of diminished chords ; Inversions of diminished chords ; vii°₆, the predominant inversion ; Preparation and resolution of the tritone and seventh -- Additional characteristics of diminished chords. Pitch spellings of fully diminished sevenths ; Alteration of fully diminished and half-diminished seventh chords ; The [degree sign with a backward slash across it]7 and m7[flat]5 -- Borrowed functions: movements and regions. Chromaticism -- Borrowed chords. Function ; Borrowed chords and secondary chords ; Qualities ; Part writing -- Change-of-quality chords. Characteristics -- Related and remote movement -- Key regionalizing -- The Neapolitan chord. Spelling of the N6 -- Characteristics of the Neapolitan -- Part writing of the N6 -- The Neapolitan as a tritone substitution -- German, French, and Italian augmented sixth chords. Augmented sixths. Root origin ; Implications of intrinsic augmented sixths ; Passing-tone motion and approach -- Structure and function of German sixths. Intervallic structure ; Resolution -- Structure and function of French sixths. Intervallic structure ; Resolution ; French sixths and supertonics ; Seventh flat-five chords and French sixths -- Structure and function of Italian sixths. Intervallic structure ; Resolution -- More on augmented sixths. Popular genres ; Alternative origin: the #4 -- Upper partial chords: ninths, elevenths, and thirteenths. Characteristics of upper-partial chords -- Ninth chords. Diatonic ninths ; Ninth factors ; Major ninths and dominant ninths ; Hybrid structures ; Add 9 chords -- Eleventh chords. Dominant elevenths and 4-3 suspensions ; The "Sus 4" symbol in popular music ; Augmented eleventh chords ; Minor eleventh chords ; 9,11 chords ; Elevenths on other scale degrees -- Thirteenth chords. Add 9, Sus 4, and Add 6 chords -- General remarks on upper-partial chords. Other scale degrees ; Symbols in popular music -- Embedded harmonic structures. Triads ; Sevenths ; Implications -- Inversions of ninths, elevenths, and thirteenths. Rerooting and root ambiguity -- Voice leading of upper-partial chords. Necessary chord factors -- Pitch tendency. Ninths ; Elevenths ; Thirteenths ; Adapting the rules -- Authentic and appoggiatura upper-partial chords -- Stepwise, mediant, and tritone relationships. Cyclic movement -- Noncyclic movement -- Stepwise movement. Planing and parallelism -- Mediant movement -- Tritone relationship and movement -- Tritones and augmented sixths. German sixths ; French sixths ; Implied roots -- Applications. Chord identification in unconventional root movements -- Modulation. Establishing a new key center -- Why modulate? -- Common-chord modulation -- Pivot-chord modulation -- Chromatic modulation. Neapolitan chords ; Borrowed pivots in target keys -- Enharmonic modulation. Augmented sixths as pivots ; Major-minor sevenths ; Fully diminished sevenths ; Augmented triads as pivots -- Implied modulation -- Static modulation -- Common-tone modulation -- Further remarks on modulation. Extensive chromaticism ; Embedded structures ; Harmonic structures generated from melodies ; Unimplied roots -- Secundal, quartal, and quintal harmony. The secundal system. Chords in seconds ; Inversions ; Voicings ; Multinote secundal chords ; Clusters -- The quartal system. Chords in fourths ; Perfect-perfect fourths ; Perfect-augmented fourths ; Augmented-perfect fourths ; Nonfunctional augmented-augmented quartal chords ; Voicings ; Consonance and dissonance ; Compound quartal chords ; Inversions ; Implied roots ; Identification of inversions ; Analysis of fourth chords -- The quintal system. Chords in fifths ; Perfect fifth dyads ; Superimposed fifths ; Consonant and dissonant perfect fifths ; Perfect fifths and perfect fifth anchors -- Appendices. Several scale constructions from C -- More on chord construction and function. Harmonic construction and progression revisited -- Instruments and voices. Transposing instruments ; Instruments and vocal ranges -- The major scales and the three forms of the minor scales -- Historical perspective -- Common structures in common-practice and popular music. |
| Abstract |
Written as a music theory text that not only addresses the important fundamental syntax of music in the classical sense but also relates this syntax to current practices and styles, this book should be particularly well-suited to musicians focusing on aspects of the music business and of popular culture. |
| Local note | Little-330979--3051310398921 |
| General note | Includes index. |
| LCCN | 95217880 |
| ISBN | 1880157209 |
