| Contents |
In lieu of fundamentals -- Diatonic harmony -- Melody -- Voice leading -- Basic chromatic harmony -- Counterpoint -- Advanced chromatic harmony -- Arranging, composing, and analysis -- Twentieth-century techniques. |
| Contents |
Part one. In lieu of fundamentals. Assorted preliminaries. Matters of pitch. The staff and its clefs ; Solmization ; The hexachord system ; Accidentals -- Modes, scales, and evolution. Church modes ; Musica ficta -- Metric matters. Meter ; The dot ; Early meter signatures ; Hypermeter -- Sound. Overtones ; The legend of Pythagoras ; Equal temperament -- Intervals. Perspective: five ways to measure an interval -- White-key intervals -- Intervals of the major scale -- This and that about intervals. Enharmonic intervals ; Inversion ; Simple versus compound ; Diatonic versus chromatic ; Consonance versus dissonance -- Part two. Diatonic harmony. Basic harmonic structures. Triads. Harmony and chord ; Basic triads -- Inversion. Inversion and bass line ; Determining inversion -- Seventh chords. Classification of seventh chords ; Inverted seventh chords -- Musical shorthand: lead sheets and figured bass. Lead-sheet notation. Lead-sheet chord symbols ; Expanded symbols ; Passing tones -- Figured bass notation. Realizing a figured bass -- Harmonies of the major and minor scales. The diatonic chords. Diatonic triads in major keys ; Roman numeral symbols ; Diatonic triads in minor keys ; Showing inversion -- Functional tonality. The circle of fifths ; Progression, retrogression, repetition ; Ground bass patterns -- More on seventh chords. Symbolizing seventh chords -- Cadences/harmonic rhythm. Cadences. Cadences and style ; Standard cadences ; Cadential variants -- Harmonic rhythm -- Part three. Melody. Melodic pitch and rhythm. Range, interval structure, and gesture. Range ; Interval structure ; Gesture -- Repetition. Motive ; Sequence ; Types of sequences -- Melodic tonality. Scales and arpeggios ; Large-scale events ; Recognizing important pitches ; Tonic dominant axis -- Embellishing tones. Step-step combinations. Passing tones ; Neighbor tones -- Step-leap combinations. Appoggiatura ; Escape tone ; Changing tones -- Step-repetition combinations. Anticipation ; Suspension and retardation ; Other ways of designating suspensions -- Embellishing tones and style. Multiple embellishing tones ; Embellishing tones in jazz ; Embellishing tones as motives ; The embellishing chord tone -- Summary of embellishing tones -- Melodic form. The phrase. What is a phrase? ; Phrase length ; Cadences ; Phrase relationships -- Combining and extending phrases. The period ; Parallel period ; Contrasting period and phrase group ; Double period ; Cadential elision ; Phrase extension ; Phrasing and style -- Composing melodies. Constructing a melody from a motive. The initial melodic idea ; The harmonic factor ; Devising a harmonic plan -- |
| Contents |
Part four. Voice leading. Melodic principles of part writing/voicing and connecting chords. Perspective: why four parts? -- Melodic principles. Ranges ; Interval motion ; Leaps ; Sensitive tones ; Soprano-bass counterpoint -- Voicing chords. Spacing ; Doubling ; Alternative doublings -- Connecting chords. Consecutive perfect consonances ; Voice crossing and overlap ; Common tones ; No common tones -- The chorale/part writing with root-position triads. Part writing and golf -- The chorale. Melodic features -- Part writing with root-position triads. The "short rule" for connecting chords ; Fifth relationship ; Third relationship ; Second relationship ; Part writing the deceptive cadence -- Part writing suspensions -- Part writing with triads in inversion. Perspective -- First inversion. Inversion and bass line ; Doubling in first inversion ; Why the soprano? ; Chord connection ; Inversion and harmonic weight ; Suspensions -- Second inversion. Cadential six-four chord ; Passing six-four chord ; Pedal six-four chord ; Arpeggiated six-four chord ; Variants -- Part writing seventh chords. Perspective -- Dominant-functioning seventh chords. The V7 ; Chord member or not? ; The unresolved leading tone ; The ascending seventh ; Delayed resolution ; The vii°7 and vii[0 with a backward slash]7 -- Nondominant seventh chords. Seventh chords and chain suspensions ; The I7 -- Part five. Basic chromatic harmony. Secondary function I. Secondary dominants. The V/x ; Tonicization ; The tonicizing tritone ; The V7/x ; Common musical contexts ; Harmonic sequence -- Secondary leading-tone chords -- Secondary function II. Preliminary note -- Jazz and popular styles. V7/x ; Melodic and harmonic chromaticism ; ii7-V7/x ; vii°7/x -- Voice leading and harmonization -- Modulation I. Perspective: a preliminary quiz -- Modulation by common chord. Crossing the "tonal border" ; Multiple common chords -- Chromatic modulation. Common contexts ; Multiple accidentals ; Modulation or tonicization -- Part six. Counterpoint. The art of countermelody. Two-voice counterpoint. Motion ; 1:1 counterpoint ; Converting 1:1 to 2:1 ; Essentials of counterpoint ; Converting 2:1 to 4:1 ; Jazz and popular styles -- Fun with counterpoint. Creating a bass ; Melodizing the bass ; Buffing the bass ; Adding a third voice ; Polyphonic or homophonic? -- J. S. Bach's Two-Part Inventions. The invention. Motive and countermotive ; Contrapuntal devices -- Invention no. 6 -- Analysis. Invertible counterpoint ; Tonality ; Harmony ; Implied harmony ; Form -- The fugue. The basics of fugue. Subject and answer ; The exposition ; The countersubject ; The development ; The recapitulation ; Summary ; Stretto and counterexposition ; The coda -- Analysis. Analytic comments -- |
| Contents |
Part seven. Advanced chromatic harmony. Mixing modes. Perspective: adding to the palette. Vocabulary and syntax -- Change of mode. Mode and mood ; Keys related through mode mixture ; Enharmonic change of mode -- Mode borrowing. Common borrowed harmonies ; Modal borrowing and style -- Chromatic-third relationships. Diatonic- vs. chromatic-third relationship ; Common chromatic-third relationships -- Altered pre-dominants. Perspective -- The Neapolitan sixth chord. The Neapolitan chord ; The harmonic nature of the Neapolitan ; Insertions before the v -- Augmented sixth chords. Constructing an augmented sixth chord ; Voice leading -- Other chromatic harmonies. Altered dominants -- Embellishing diminished seventh chords. Functional versus embellishing °⁷ ; Spelling and resolving the embellishing °7 -- Modulation II. Perspective: in search of the harmonic truth -- Recognizing signals: the three Cs. Chromatic pitches ; Clue chords ; Cadences ; Thinking through a modulation -- Back to the tonal border. Chromatic modulations -- The secret lives of chords. The enharmonic Gr+6 chord ; The enharmonic diminished seventh chord -- Selected harmonic structures and techniques. Triadic extensions. Dominant ninth chords ; Secondary dominant ninth chords ; Other ninth chords ; Eleventh chords ; The dominant eleventh chord ; The minor eleventh chord ; Thirteenth chords -- Linear chromaticism -- Harmonic sequence -- Part eight. Arranging, composing, and analysis. Harmonic principles in jazz. Perspective: what's the difference? What this chapter can and cannot do -- Extending the triad. Basic seventh chords and their extensions ; Voicing -- Chord substitution. Origins ; Simple tonicization ; The turnaround ; Extended tonicization ; Tritone-related chords ; Tritone substitution in the turnaround ; Substitution guideline ; Expanded tritone substitutions -- Implied lines. Reading between the chord symbols ; Auxiliary chords -- The blues. Perspective -- Blues form and harmonic practice. The basic blues today ; Substitute harmonies ; Minor blues -- Blues melodic practice. Blue notes ; Blue-note scales ; Blue-note scales in minor blues -- Blues variants -- Form, process, and drama. An experiment -- Three ways of looking at form. Visual versus aural symmetry ; Motivic analysis ; Musical processes ; Similarity and contrast -- Dramatic shape. Creating musical tension ; Texture -- Binary and ternary forms. Perspective -- Statement-restatement. The coda -- Statement-contrast. Symmetric versus asymmetric forms -- Statement-contrast-restatement. The bridge ; Rounded binary versus ternary form -- Shaping a song. Perspective -- Text. Text setting ; Form ; Text/melody relationship ; Text painting -- Accompaniment -- Composing a song -- Part nine. Twentieth-century techniques. Syntax and vocabulary. Syntax. Planing ; The non-functional dominant seventh chord ; The augmented triad ; Modality ; Modal cadences -- New melodic and harmonic sequences. Pentatonic scales ; Quartal/quintal harmonies ; Whole-tone scale ; Other scales -- Neotonality. Perspective -- New tonal adventures. Quartal harmonies ; Polychords ; Polytonality ; Bimodality ; Pandiatonicism -- Stravinsky and Bartok. Stravinsky ; Bartok ; Analysis ; Pentatonic melody ; Modality ; Hemiola -- Atonality and twelve tonality. Perspective -- Atonality. Things you can do with a cell ; Hints for analysis -- Twelve tonality. Choosing a row ; Finding the row -- Appendix A. Pitch -- Appendix B. Rhythm -- Appendix C. Basic lead-sheet symbols -- Appendix D. Part-writing guidelines. |
| Abstract |
Years of classroom experience and a thoughtful reappraisal of the skills needed in today's musical world are reflected in this new theory text. This unique project merges traditional topics such as part writing (pared and prioritized in light of current practice) and harmony (diatonic, chromatic, neotonal and atonal) with less traditional topics such as counterpoint and musical process, and with non-traditional topics such as popular-based song writing and harmonic principles in jazz and the blues. In a style that reads more like a novel than a textbook, this book employs precise and articulate prose seasoned with 'a pinch of humor, a sprinkle of analogy, and a dash of vignette'. It considers the classical, folk, popular, and jazz repertoires in equal measure, probing connections among them and offering fresh and unique perspectives. The author has scoured the classical literature in search of familiar examples not often included in theory texts and has chosen popular, jazz, TV, and film-score examples for their durability and interest. New through and through, this textbook is informative, creative, and compelling. This single-volume text is packaged with a CD-ROM containing over 350 music examples. |
| Local note | Little-359257--3051310648862 |
| Local note | JOYNER MUSIC LIBRARY BOOK ACCOMPANIED BY SOFTWARE LOCATED AT CALL NUMBER: Music SW-70. |
| General note | "Designed for the two-year theory curriculum"--Page xiii. |
| General note | Accompanying CD-ROM provides audio files for the musical examples in the book; contents on inside front and back covers. |
| General note | Includes indexes. |
| Technical details | System requirements for accompanying CD-ROM: IBM PC or compatible system; Microsoft Windows 98SE/2000/XP; or Macintosh; OS X 10.2 or higher. |
| LCCN | 2006298005 |
| ISBN | 9780072498653 (acid-free paper) |
| ISBN | 007249865X (acid-free paper) |
