| Physical medium | 4 3/4 in. |
| Contents |
Part 1. The foundations of tonal music -- Part 2. Merging melody and harmony -- Part 3. A new harmonic function, the phrase model, and additional melodic and harmonic embellishments -- Part 4. New chords and new forms -- Part 5. Functional chromaticism -- Part 6. Expressive chromaticism -- Part 7. Large forms: ternary, rondo, sonata -- Part 8. Introduction to nineteenth-century harmony: the shift from asymmetry to symmetry. |
| Contents |
Part 1. The foundation of tonal music. Musical space and time. Tonality in context: Bach's Violin Partita no. 3, prelude ; Specifics of the pitch realm ; The metrical realm -- Harnessing space and time: introduction to melody and two-voice counterpoint. Melody: characteristics and writing ; Controlling consonance and dissonance: introduction to two-voice counterpoint ; Review and synthesis of terms and concepts -- Musical density: triads, seventh chords, and texture. Adding voices: triads and seventh chords ; Musical texture -- Part 2. Merging melody and harmony. When harmony, melody, and rhythm converge. Tonal hierarchy in music ; Embellishing tones ; The importance of context in analysis ; Analytical interlude ; Melodic fluency ; Melody as harmony -- Tonic and dominant as tonal pillars and introduction to voice leading. Characteristics and effect of V and I ; The cadence ; Introduction to voice leading ; Summary of voice-leading rules and guidelines -- The impact of melody, rhythm, and meter on harmony: introduction to V⁷; and harmonizing florid melodies. The interaction of harmony, melody, meter, and rhythm: embellishment and reduction ; The dominant seventh and chordal dissonance ; Harmonizing florid melodies -- Contrapuntal expansions of tonic and dominant: six-three chords. Chordal leaps in the bass: I⁶ and V⁶ ; Neighbor tones in the bass (V⁶) ; Second-level analysis ; Passing tones in the bass: vii°⁶ ; Tonic expansion with an arpeggiating bass: IV⁶ ; Dominant expansion with passing tones: IV⁶ ; Combining first-inversion chords -- More contrapuntal expansions: inversions of V⁷, introduction to leading tone seventh chords, and reduction and elaboration. V⁷ and its inversions ; Voice-leading inversions of V⁷ ; Combining inversions of V⁷ ; Compositional impact of contrapuntal chords ; Leading-tone seventh chords: vii°⁷ and vii[degree sign with a forward slash]⁷ ; Summary of contrapuntal expansions ; Reduction and elaboration: compositional and performance implications -- Part 3. A new harmonic function, the phrase model, and additional melodic and harmonic embellishments. The pre-dominant function and the phrase model. The pre-dominant function ; Introduction to the phrase model -- Accented and chromatic embellishing tones. The accented passing tone (APT) ; The chromatic passing tone (CPT) ; The accented neighbor tone (AN) ; The chromatic neighbor tone (CN) ; The appoggiatura (APP) ; The suspension (S) ; The anticipation (ANT) ; The pedal (PED) ; Summary of the most common embellishing tones -- Six-four chords, revisiting the subdominant, and summary of contrapuntal expansions. Unaccented six-four chords ; Accented six-four chords -- The pre-dominant refines the phrase model. Nondominant seventh chords: IV⁷ (IV 6/5) and ii⁷ (ii 6/5) ; Embedding the phrase model ; Contrapuntal cadences ; Expanding the pre-dominant ; Subphrases -- Part 4. New chords and new forms. The submediant: a new diatonic harmony, and further extensions of the phrase model. The submediant (vi in major, VI in minor) ; Contextual analysis ; The step descent in the bass -- The mediant, the back-relating dominant, and synthesis of diatonic harmonic relationships. The mediant (iii in major; III in minor) ; More contextual analysis: the back-relating dominant and synthesis of root-motion principles -- The period. Aspects of melody and harmony in periods ; Representing form: the formal diagram ; Sample analyses of periods and some analytical guidelines ; Composing periods -- Other small musical structures: sentences, double periods, and modified periods. The sentence: an alternative musical structure ; The double period ; Modified periods -- Harmonic sequences. Components and types of sequences -- |
| Contents |
Part 5. Functional chromaticism. Applied chords. Applied dominant chords ; Applied leading-tone chords ; Incorporating applied chords within phrases ; Sequences with applied chords ; Summary of diatonic and applied-chord sequences -- Tonicization and modulation. Extended tonicization ; Modulation -- Binary form and variations. Binary form ; Variation form -- Part 6. Expressive chromaticism. Modal mixture. Altered pre-dominant harmonies: ii° and iv ; Altered submediant harmony: (flat VI) ; Altered tonic harmony: i ; Altered mediant harmony: (flat III) ; Voice leading for mixture harmonies ; Chromatic stepwise bass descents ; Plagal motions ; Modal mixture, applied chords, and other chromatic harmonies -- Expansion of modal mixture harmonies: chromatic modulation and the German lied. Chromatic pivot-chord modulations ; Unprepared and common-tone chromatic modulations ; Analytical challenges ; Modal mixture and the German lied -- The Neapolitan chord (flat II). Characteristics, effects, and behavior ; Writing the Neapolitan chord ; Expanding (flat II) ; The Neapolitan in sequences ; The Neapolitan as a pivot chord -- The augmented sixth chord. Characteristics, derivation, and behavior ; Types of augmented sixth chords ; Writing augmented sixth chords ; (Flat VI) and the Ger(6/5) chord ; Augmented sixth chords as part of PD expansions ; The augmented sixth chord and modulation: reinforcement ; The augmented sixth chord as pivot in modulation -- Part 7. Large forms: ternary, rondo, sonata. Ternary form. Characteristics ; Transitions and retransitions ; Da capo form: compound ternary form ; Da capo aria ; Minuet-trio form ; Ternary form in the nineteenth century -- Rondo. Context ; The classical rondo -- Sonata form. Historical context and tonal background ; Additional characteristics and elements of sonata form ; Other tonal strategies ; Sonata-rondo form ; Analytical synthesis: sonatas of Haydn and Mozart -- Part 8. Introduction to nineteenth-century harmony: the shift from asymmetry to symmetry. New harmonic tendencies. Tonal ambiguity: the plagal retention and reciprocal process ; Tonal ambiguity: semitonal voice leading ; The diminished seventh chord and enharmonic modulation ; Tonal clarity postponed: off-tonic beginning ; Double tonality -- The rise of symmetrical harmony in tonal music. A paradox: "balanced" music based on asymmetry ; Symmetry and tonal ambiguity ; The augmented triad ; Altered dominant seventh chords ; The common-tone diminished seventh chord ; Common-tone augmented sixth chords ; Analytical interlude -- Melodic and harmonic symmetry combine: chromatic sequences. Distinctions between diatonic and chromatic sequences ; Chromatic sequence types ; Other chromatic step-descent basses ; Writing chromatic sequences ; Chromatic contrary motion ; A final equal division of the octave -- At tonality's edge. Sequential progressions ; Nonsequential progressions and equal divisions of the octave ; The intervallic cell -- Appendices. Appendix 1. Fundamentals. The pitch realm. Charting musical sound: staff and clef ; Pitch and pitch class ; The division of musical space: intervals ; Accidentals ; Scales ; Enharmonicism ; Scale degree numbers and names ; Specific scale types: major and minor ; Building scales in the major mode ; Key signatures and the circle of fifths ; Building scales in the minor mode ; Key signatures in minor ; Relative major and minor keys -- Pulse, rhythm, and meter. Rhythm and durational symbols ; Meter -- Intervals. Naming generic intervals ; Melodic and harmonic intervals: simple and compound ; Tips for identifying generic intervals ; Naming specific intervals ; Transforming intervals: augmented and diminished intervals ; Interval inversion ; Generating all intervals -- Triads, inversions, figured bass, and harmonic analysis. Triads -- Seventh chords and harmonic analysis. Definitions and types ; Musical characteristics of seventh chords ; Analytical tips ; Seventh chords and harmonic analysis -- Appendix 2. Invertible counterpoint, compound melody, and implied harmonies. Invertible counterpoint ; Harmonic implications of single melodic lines: compound melody -- Appendix 3. The motive. Introduction ; Motive types ; Motivic repetition ; Inter-section and intermovement motivic repetitions ; Single-interval motives ; Hidden motivic repetitions -- Appendix 4. Additional harmonic-sequence topics. Compound melody and implied seventh chord sequences ; Parallel first-inversion triads ; Sequences versus sequential progressions ; Composing sequences within the phrase model -- Appendix 5. Abbreviations and acronyms -- Appendix 6. Selected answers to textbook exercises. |
| Abstract |
Beginning with music fundamentals, this text covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. The text links each of the tasks that comprise a tonal theory curriculum, explicitly connecting written theory (writing and analysis), skills (singing, playing, and dictation), and music-making outside the theory class. This edition is revised with beginning students in mind and contains more basic exercises as well as solutions to selected exercises in the text. It is streamlined and reorganized with fewer chapters. The text presents the most commonly taught topics in sequence and moves less-common topics--such as invertible counterpoint, compound melody, and motive--to the appendices, where instructors may access them as their individual curriculum permits, or omit them altogether. This edition contains numerous musical examples include guiding notations, with textural and structural reductions of more complex examples. |
| General note | Includes index. |
| General note | CD-ROM contains exercises and examples from text performed by musicians from the Eastman School of Music. |
| LCCN | 2011005659 |
| ISBN | 9780199742783 (hardcover) |
| ISBN | 0199742782 (hardcover) |
| ISBN | 9780199742790 (pbk.) |
| ISBN | 0199742790 |
| ISBN | 9780199742806 (pbk.:workbk.2) |
| ISBN | 0199742804 |
