| Contents |
In lieu of fundamentals -- Diatonic harmonies -- Melody -- Voice leading -- Basic chromatic harmony -- Counterpoint -- Advanced chromatic harmony -- Form -- Music in the twentieth-century and beyond -- Appendix A: Pitch -- Appendix B: Rhythm -- Appendix C: Basic lead sheet symbols -- Appendix D: Part-writing guidelines -- Glossary. |
| 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 -- Related matters. Inversion ; Enharmonic intervals ; Simple versus compound ; Diatonic versus chromatic ; Consonance versus dissonance -- Part two. Diatonic harmony. Basic harmonic structures. Triads. Harmony and chord ; Basic triads ; Stability and color -- Chord 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 -- More on chord inversion: the numbers game -- 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 ; The primary triads ; Diatonic triads in minor keys ; Showing inversion ; The diatonic seventh chords -- Functional tonality. Chord function ; The circle of fifths ; Progression, retrogression, and repetition ; The ground bass -- 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. The standard voices -- Step-step combinations. Passing tones ; Neighbor tones -- Step-leap combinations. Appoggiatura ; Escape tone ; Double neighbors -- Step-repetition combinations. Anticipation ; Suspension and retardation ; Other ways to designate suspensions -- Embellishing tones and style. Multiple embellishing tones ; Embellishing tones in jazz ; Embellishing tones as motives ; The embellishing chord tone -- Melodic form. The phrase. What is a phrase? ; Phrase length ; Phrases and cadences ; The musical sentence ; Phrase relationships -- Combining and extending phrases. The period ; Parallel period ; Contrasting period ; Phrase group ; Double period ; Cadential elision ; Cadential extension -- |
| Contents |
Part four. Voice leading. Melodic principles of part writing/the outer-voice framework. Melodic principles. Interval motion ; Sensitive tones ; Types of motion between voices -- Creating an outer-voice framework. 1:1 counterpoint ; 2:1 counterpoint -- The melodic factor in four-voice part writing/voicing and connecting chords. Perspective: why four parts? -- Review of melodic principles -- Voicing chords. Spacing ; Doubling ; Alternative doubling -- Connecting chords. Consecutive perfect fifths and octaves ; Voice crossing and overlap ; Common tones -- Part writing with root-position triads/the chorale. Part writing -- The chorale. Melodic features -- Part writing with root-position triads. Fifth relationship/part writing the AC, PC, and HC ; Third relationship ; Second relationship ; Warning! Part-writing hazard! ; Part writing the deceptive cadence -- Part writing suspensions. Doubling in suspensions -- Part writing with triads in inversion. Perspective -- First inversion. Inversion and bass line ; Doubling in first inversion ; Why not the other tone? ; Chord connection ; Inversion and harmonic weight ; Suspensions and first inversion -- Second inversion. Cadential six-four chord ; Passing six-four chord ; Pedal six-four chord ; Arpeggiated six-four chord ; Six-four chord variants -- Part writing seventh chords. Perspective -- Seventh chords of dominant function. The V7 ; Chord member or not? ; The unresolved leading tone ; The unresolved seventh ; Delayed resolution ; The leading-tone seventh chord -- Nondominant seventh chords. Where judgment enters ; Seventh chords and chain suspensions ; The I7 ; Voice-leading summary -- Part five. Basic chromatic harmony. Secondary function I. Secondary dominants. The V/x ; Tonicization ; The tonicizing tritone ; The V7/x -- Secondary leading-tone chords. vii°/X ; vii°/x ; vii°⁷/x ; vii[degree sign with a backward slash]⁷/x -- Secondary function II. Preliminary note -- Jazz and popular styles. V⁷/x ; Expanding (prolonging) a tonicization ; vii°⁷/x ; The tonicizing IV? -- Melody harmonization -- Modulation I. Perspective: a preliminary quiz -- Modulation by common chord. Crossing the "tonal border" ; Multiple common chords ; Closely related keys -- Chromatic modulation. The rules of chromatics ; Multiple accidentals ; Modulation or tonicization? -- Part six. Counterpoint. The art of countermelody. Two-voice counterpoint. Motion between two voices reviewed ; Note-against-note counterpoint ; Converting 1:1 to 2:1 ; Essentials of counterpoint ; Converting 2:1 to 4:1 ; Counterpoint in jazz and popular styles -- J. S. Bach's chorale harmonizations. Polyphonic or homophonic? -- J. S. Bach's Two-Part Inventions. The Bach Inventions ; Motive and countermotive ; The devices of counterpoint -- Analysis: Invention no. 6. Invertible counterpoint ; Sequence ; Fragmentation ; Tonality ; Implied harmony ; Form -- The fugue. The basics of fugue. Subject and answer ; Real and tonal answers ; The "prominent dominant" ; The exposition ; Entries and episodes ; The ending ; Summary ; Link, counterexposition, and coda -- Analysis: Bach Fugue no. 16 from The Well-Tempered Clavier, Book I. About this fugue -- |
| 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 -- Modal borrowing. Modal borrowing versus change of mode ; Common borrowed harmonies ; Voice leading ; Modal borrowing and style -- Chromatic-third relationships. Diatonic- vs. chromatic-third relationship ; The common chromatic-third relationships ; Chromatic thirds, mode mixtures, and tonicization ; Voice leading -- Altered pre-dominants. Perspective -- The Neapolitan sixth chord. The Neapolitan chord ; The harmonic nature of the Neapolitan ; Insertions before V -- Augmented sixth chords. Constructing an augmented sixth chord ; The enharmonic German sixth chord ; Voice leading -- Other chromatic harmonies. Altered dominants. V⁺ ; V⁺⁷ ; V-7/5 -- Embellishing diminished seventh chords. Functional versus embellishing diminished seventh chords ; Spelling and resolving the embellishing °⁷ -- Modulation II. Perspective: "in search of the harmonic logic" -- The three Cs: recognizing the signals. Chromatic pitches ; Clue chords ; Cadences ; Thinking your way through a modulation -- Back to the tonal border. Chromatic modulations -- The secret lives of chords. The enharmonic German sixth chord ; The enharmonic diminished seventh chord -- Harmonic extensions and chromatic techniques. Triadic extensions: climbing the overtone series. The dominant ninth chord ; Common voicings ; Inverted ninth chords ; Secondary dominant ninth chords ; Other ninth chords ; Eleventh chords ; Thirteenth chords -- Linear chromaticism -- Harmonic sequence -- Part eight. Form. Binary and ternary forms. Three ways of looking at form. Motivic analysis ; Similarity and contrast ; Musical processes -- Statement and restatement -- The coda -- Statement and contrast. Symmetric versus continuous forms ; Symmetric versus asymmetric forms -- Statement-contrast-restatement. The bridge ; Rounded binary versus ternary form -- Introduction to sonata form. Perspective. The "linguistics" of sonata form -- A brief history. Establishment, departure, and return -- Mozart: Eine Kleine Nachtmusik (first movement). The exposition ; Primary tonality and theme ; Transition ; Secondary tonality and theme ; Closing section ; Development ; Retransition ; Recapitulation ; Coda -- Summary of Eine Kleine Nachtmusik (first movement) -- Introduction to the rondo. Perspective. Refrain and episode -- Beethoven: Piano sonata op. 13 (second movement). The refrain (A) ; The first episode (B) ; The second refrain (A') ; The second episode (C) ; The third refrain (A'') ; The coda ; Summary -- Part nine. Music in the twentieth century and beyond. Syntax and vocabulary. Syntax. Planing ; The non-functional Mm7 chord ; Modality ; Modal cadences -- New melodic and harmonic structures. Pentatonic scales ; Quartal and quintal harmonies ; Whole-tone scale ; Other scales -- New tonal methods. Perspective -- New tonal ventures. Quartal harmonies ; Polychords ; Polytonality ; Bimodality/dual modality ; Pandiatonicism -- Stravinsky and Bartok. Stravinsky ; The Rite of Spring ; Bartok ; "Boating" (from Mikrokosmos Book V) ; Analysis -- Atonality and serialism. Perspective -- Atonality. Tools for atonal analysis ; Set analysis ; Normal order ; "Best" normal order ; Prime form ; The interval-class vector ; Hints for analysis ; Another way -- Serialism: the twelve-tone method. Basic tenets ; Aspects of the row ; The matrix ; How to construct a matrix ; Indexing the matrix -- Hints for analysis -- Harmonic principles in jazz. What's the difference? What this chapter can't do ; What this chapter can do -- Extending the triad. Review: basic seventh chords ; The extended seventh chord ; Melodic implications ; Voicing -- Chord substitution. Tonicization ; The turnaround ; Tritone equivalence ; The tritone in the turnaround ; Expanded tritone substitution -- Implied lines. Reading between the chords -- The blues. Perspective -- Blues form and harmonic practice. What is "the blues?" ; The basic blues today ; Minor-key blues -- Blues melodic practice. Blue notes ; Blue-note scales ; Blue-note scales in minor keys ; Blues variants -- Shaping a song. Perspective -- Text. Form ; Words and rhythm ; Syllabic versus melismatic text setting -- Melody. The harmonic factor ; Song writing then and now -- Composing a song step-by-step. Step 1: Scanning the text ; Step 2: "Rhythmizing" the text ; Step 3: Devising a harmonic plan ; Step 4: Composing the melody -- Appendix A. Pitch -- Appendix B. Rhythm -- Appendix C. Basic lead-sheet symbols -- Appendix D. Part-writing guidelines. |
| Abstract |
This textbook recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to today's music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers. This broadly comprehensive text merges traditional topics such as part-writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. Written by an experienced textbook author and new co-author, both active classroom teachers for many years, this book is the complete and ideal theory text to enable today's student to accomplish their musical goals tomorrow. New features to the Second Edition: An expanded unit on form that includes introductory chapters on sonata & rondo, to prepare students for learning form; new "Back to Basics" online drills, keyed to the text, allowing students to brush up their fundamentals as needed; new musical examples, including over 80 new musical excerpts from both art and popular music repertoires; expanded in-chapter exercises to promote and facilitate classroom interaction; carefully edited in response to market demands to create a more streamlined, flexible text; new audio of musical examples (for both text and workbook), 50% re-recorded for improved audio quality; an updated and relocated Chapter 33 on song composition in the jazz and popular folk styles, applying principles of text setting, melody composition/harmonization; and a companion website that houses online tutorial with drills of basic concepts. |
| General note | Each chapter ends with sections called "Coda" and "Do you know these terms?" |
| General note | Includes index. |
| General note | Compact disc, MP3 format. |
| LCCN | 2013011930 |
| ISBN | 9780415663328 (hardback ; alkaline paper) |
| ISBN | 0415663326 (hardback ; alkaline paper) |
| ISBN | 9780415663335 (paperback ; alkaline paper) |
| ISBN | 0415663334 (paperback ; alkaline paper) |
| ISBN | (ebook) |
