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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 -- Part 9. Twentieth- and twenty-first-century music. |
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Part 1. The foundations of tonal music. Musical space. Tonality in context: Bach's Violin Partita no. 3, prelude -- Specifics of the pitch realm. Charting musical sound: staff and clef. Pitches and pitch classes -- 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. A major ; F major -- Key signatures and the circle of fifths. Mastering key signatures -- Building scales in the minor mode -- Key signatures in minor -- Relative major and minor keys -- Intervals -- Naming generic intervals -- Intervals in context. Melodic and harmonic ; Simple and compound ; Tips for identifying generic intervals ; Naming specific intervals -- Transforming intervals. Minor major and major minor ; Augmented and diminished intervals -- Interval inversion -- Generating all intervals. Method 1 ; Method 2 -- Enharmonic intervals -- Consonant and dissonant intervals -- Musical time: pulse, rhythm, and meter. Rhythm and durational symbols. Notes and rests -- Dots and ties -- Meter. Beat division -- Simple and compound meters -- The meter signature. Meter signatures for compound meters -- Asymmetrical meters -- Clarifying meter -- More rhythmic procedures -- Accent in music. Temporal accents -- Nontemporal accents -- Metrical disturbance. Syncopation -- Hemiola -- Harnessing space and time: introduction to melody and two-voice counterpoint. Melody: characteristics and writing -- Controlling consonance and dissonance: introduction to two-voice counterpoint -- Counterpoint in history. Fux, Mozart, and Attwood -- Fux's method -- Two-voice counterpoint as musical foundation. First-species counterpoint. Contrapuntal motions -- Perfect intervals: handle with care. Beginning and ending first-species counterpoint ; Rules and guidelines for first-species (1:1) counterpoint -- Second-species counterpoint. Weak-beat consonance ; Weak-beat dissonance ; More on perfect consonances ; Beginning and ending second-species counterpoint ; Rules and guidelines for second-species counterpoint -- Musical density: triads, seventh chords, and texture. Adding voices: triads and seventh chords. Triads. Voicing triads: spacing and doubling ; Triad inversion -- Figured bass. Analyzing and composing using figured bass ; Additional figured bass conventions: abbreviations and chromaticism -- Triads and the scale: harmonic analysis. Roman numerals ; Introduction to harmonic analysis ; Harmony and the keyboard -- Seventh chords. Definitions and types -- Musical characteristics of seventh chords. Inverted seventh chords -- Analytical tips -- Seventh chords and harmonic analysis -- Musical texture. Analytical method. Distribution of chord tones and implied harmonies ; Fluency ; Harmonic reduction -- Part 2. Merging melody and harmony. When harmony, melody, and rhythm converge. Tonal hierarchy in music -- Embellishing tones. Neighboring tones, chordal leaps, and arpeggiations -- Analysis: distinguishing between chord tones and embellishing tones -- The importance of context in analysis -- Analytical interlude. Another example of long-range pitch structure -- Reflections on "Clementine" and "God Save the King" -- Melodic fluency. Cognition and perception -- Analytical application: relying on instincts and human perception -- The arch and nested lines -- Melody as harmony -- Tonic and dominant as tonal pillars and introduction to voice leading. Characteristics and effect of V and I. Stability and tonality of the tonic -- Instability of the dominant -- Tonic and dominant combined -- Closure on the dominant -- The cadence. Mozart's rondo -- Introduction to voice leading. Texture and register. Notating four-voice textures ; Vocal registers -- Three techniques to create voice. Independence within a four-voice texture. Technique 1: smoothness ; Technique 2: registral independence ; Technique 3: contrapuntal independence -- Creating the best sound: incomplete and complete chords, doubling, and spacing. Omitted chord tones ; Doubled chord tones ; Spacing and voicing -- Summary of voice-leading rules and guidelines. Move the voices as little as possible when changing chords -- |
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chromatic mediants. Grieg, "Morning" from Peer Gynt Suite, op. 46, no. 1 -- Expansion of modal mixture harmonies: chromatic modulation and the German lied. Chromatic pivot-chord modulations. Analytical interlude: Schubert's Waltz in F major -- Writing chromatic modulations -- Unprepared and common-tone chromatic modulations. Schubert, Sonata in B-flat major, op. posth, D. 960, molto moderato -- Analytical challenges -- Modal mixture and the German lied. Schubert, "Lachen und Weinen," D. 777, and "Die liebe Farbe" and "Die böse Farbe" from Die schöne Müllerin -- Analytical interlude: Schumann's "Waldesgesprach" from Liederkreis, op. 39. Analytical payoff: the dramatic role of (flat VI) -- The Neapolitan chord (flat II). Characteristics, effects, and behaviors of the Neapolitan chord -- Writing the Neapolitan chord -- Expanding (flat II) -- The Neapolitan chord in sequences -- The Neapolitan chord as a pivot chord -- The augmented sixth chord. Characteristics, effects, and behavior of the augmented sixth chord. Derivation of the augmented sixth chord -- Types of augmented sixth chords -- Writing augmented sixth chords. Augmented sixth chords in major -- Elided resolution of the augmented sixth chord -- (flat VI) and the Ger(6/5) chord -- Augmented sixth chords as part of PD expansions. Chromaticized bass descents -- Voice exchange -- The German diminished third chord -- The augmented sixth chord and modulation: reinforcement -- The augmented sixth chord as pivot in modulation -- |
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Maintain the independence and musical territory for each voice -- Construct chords logically -- Tips for avoiding problems -- 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. Embellishment. Distinguishing between structural and embellishing harmonies: second-level analysis ; Elaborating structural and embellishing tones -- Reduction -- Levels of embellishment. Application of second-level analysis ; Final interpretation ; Interpretative analysis ; The deepest level -- The dominant seventh and chordal dissonance. Derivation and new melodic possibilities -- New harmonization possibilities -- Part writing the dominant seventh chord -- V⁷ and I chords. Incomplete V⁷ -- Incomplete I -- Both V⁷ and I are complete -- Unequal fifths -- Analytical interlude -- Harmonizing folk-type melodies. Step 1: identify cadences -- Step 2: identify harmonic rhythm -- An example from classical music -- Contrapuntal expansions of tononic and dominant: six-three chords. Chordal leaps in the bass: I⁶ and V⁶ -- Neighbor tones in the bass (V⁶). Another neighboring motion -- Second-level analysis -- Passing tones in the bass: vii°⁶ -- Tonic expansion the long way: descending a sixth from [degree 1] to [degree 3] through V or IV⁶. IV⁶ as part of arpeggiation -- Dominant expansion with passing tones: IV⁶ -- Combining first-inversion chords -- Summary. Demonstration that harmony is a by-product of melody -- More contrapuntal expansions: inversions of V⁷, introduction to leading tone seventh chords, and reduction and elaboration. V⁷ and its inversions. V(6/5) -- Passing seventh in V(6/5) -- Neighboring seventh in V(6/5) -- V(4/3) -- V(4/2) -- Voice-leading inversions of V⁷ -- Combining inversions of V⁷ -- Leading-tone seventh chords: vii°⁷ and V⁷ -- Voice leading for vii°⁷ -- Analytical interlude -- vii°⁷ -- Compositional impact of contrapuntal chords -- Summary of contrapuntal expansions. Reduction and elaboration: compositional and performance implications. Reduction and elaboration -- 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. The subdominant (IV in major, iv in minor). The Phrygian half cadence -- The supertonic (ii in major, ii° in minor). ii(⁶) and ii°⁶ -- Pre-dominants and the stepwise ascending bass -- Part writing pre-dominants -- Extending the pre-dominants. Chordal skip ; IV-ii complex -- Introduction to the phrase model. The phrase model's flexibility -- Analytical interlude: stylistic diversity within the constraints of the phrase model -- Accented and chromatic embellishing tones. Unaccented tones of figuration -- Accented tones of figuration -- Specifics of unaccented and accented tones of figuration -- Accented embellishing tones -- The accented passing tone (APT) -- The chromatic passing tone (CPT). Metric placement and contour -- Sample analysis -- The accented neighbor tone (AN). Metric placement and contour -- The chromatic neighbor tone (CN). Analytical interlude -- The appoggiatura (APP) -- The suspension (S). Characteristics of suspension -- Components of suspensions -- Suspensions in four voices -- Labeling suspensions -- Writing suspensions -- Additional suspension techniques -- 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. Pedal. As passing tones -- Passing -- Arpeggiating -- Accented six-four chords in cadences. Cadential six-four chord as a by-product of the suspension -- Cadential six-four chord as a by-product of the accented passing tone -- Preparing cadential six-four chords -- Additional uses of cadential six-four chords. As part of half cadences ; Preceding V⁷ ; Within a phrase ; Evaded cadences: elision and extension ; Triple meter ; Writing six-four chords -- Revisiting the subdominant. Contrapuntal expansion with IV ; IV in two very different contexts ; Plagal cadence -- Summary of harmonic paradigms -- Harmonizing florid melodies -- The pre-dominant refines the phrase model. Nondominant seventh chords: IV⁷ (IV(6/5)) and ii⁷ (ii(6/5)). Supertonic seventh chords (ii⁷) ; Subdominant seventh chords (IV⁷) ; Analyzing nondominant seventh chords: ear versus eye -- Embedding the phrase model. Phrase extension -- Contrapuntal cadences. Analysis and interpretation -- Expanding the pre-dominant. 1: passing chord between ii and ii⁶ (or between ii⁶ and ii) ; 2: passing chord between IV and IV⁶ (or between IV⁶ and IV) ; 3: passing chord moving from IV⁶ (IV(6/5)) to ii(6/5) ; 4: restate tonic material up a step -- Subphrases. Pauses without subphrases -- Subphrases without pauses -- Composite phrases -- |
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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). The submediant as bridge in the descending-thirds progression -- The submediant in the descending-circle-of-fifths progression. Contextual analysis -- The submediant as tonic substitute in ascending-seconds progressions. Deceptive motion as part of a larger progression -- The submediant as the pre-dominant -- Voice leading for the submediant. The descending-thirds progression, I-vi-IV -- The descending-fifths progression, I-vi-ii (or I-vi-ii⁶) -- The ascending-seconds progression, V-vi -- Contextual analysis. vi overshadows V -- vi overshadows I -- Apparent submediants -- The step descent in the bass. Two types of step-descent basses -- Writing step-descent basses -- The mediant, the back-relating dominant, and synthesis of diatonic harmonic relationships. The mediant (iii in major, III in minor). The mediant in arpeggiations -- A special case: preparing the III chord in minor -- Voice leading for the mediant -- More contextual analysis: the back-relating dominant. Analytical and aural quandary -- The BRD at deeper levels -- Synthesis: root-motion principles and their compositional impact. Compositional application -- The period. Form as process -- Aspects of melody and harmony in periods. Comparisons -- Contrasts. Melodic ; Harmonic ; Two other options ; Sectional ; Progressive -- Representing form: the formal diagram. Phrases and periods -- Melody -- Harmony -- Period label -- Sample analyses of periods and some analytical guidelines. Summary for analyzing periods -- 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. The descending-sound (D2) sequence. The descending-second sequence in inversion -- The descending-third (D3) sequence. The descending-third sequence in inversion -- The ascending-second (A2) sequence -- Another ascending-second sequence -- Sequences with diatonic seventh chords. Sequences with inversions of seventh chords -- Writing sequences -- Part 5. Functional chromaticism. Applied chords. Applied dominant chords -- More-extensive tonicizations of nontonic harmonies. Applied chords in inversion -- Tonicized half cadences -- Recognizing applied chords -- Voice leading for applied chords. Cross relation -- Applied leading-tone chords -- Incorporating applied chords within phrases. Analytical shorthand -- An example composition. Phrase one ; Phrase two -- Sequences with applied chords. The D2 (-5/+4) sequence -- The D3 (-4/+2) sequence -- The A2 (-3/+4) applied-chord sequence -- Writing applied-chord sequences -- Summary of diatonic and applied-chord sequences -- Tonicization and modulation. Extended tonicization -- Modulation. Closely related keys -- Analyzing modulations -- Writing modulations -- Modulation in the larger musical context -- The sequence as a tool in modulation -- Binary form and variations. Binary form. Simple binary form -- Simple continuous binary -- Rounded simple binary -- Rounded continuous binary -- Balanced binary form -- Summary of binary form types -- Variation form. Continuous variations -- Sectional variations -- Compositional risks and solutions -- Part 6. Expressive chromaticism. Modal mixture. Altered pre-dominant harmonies: ii° and iv. Application: musical effects of melodic mixture -- Altered submediant harmony: (flat VI) -- Altered tonic harmony: i -- Altered mediant harmony: (flat III) -- Voice leading for mixture harmonies -- Chromatic stepwise bass descents. In minor -- In major -- Plagal motions. Brahms, Symphony no. 3 in F major, op. 90, andante -- Modal mixture, applied chords, and other |
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Part 7. Large forms: ternary, rondo, sonata. Ternary form. Characteristics -- Transitions and retransitions. Illustration -- Da capo form: compound ternary form -- Da capo aria -- Minuet-trio form -- Ternary form in the nineteenth century -- Rondo. Context -- The classical rondo. Five-part rondo -- Coda, transitions, and retransitions -- Compound rondo form -- Seven-part rondo. Distinguishing seven-part rondo from ternary form -- Missing double bars and repeats -- Sonata form. Historical context and tonal background -- The binary form for sonata form. Beethoven, Piano Sonata no. 19 in G minor, op. 49, no. 1, andante. Transition ; Closing section ; Development and retransition ; Recapitulation and coda -- Additional characteristics and elements of sonata form. Monothematic sonata form -- The slow introduction -- Harmonic anomalies -- Other tonal strategies. Three-key exposition -- Extended third-related STAs -- Sonata-rondo form -- Analytical synthesis: sonatas of Haydn and Mozart. Haydn, Piano Sonata no. 48 in C major, Hob XVI.35, allegro con brio. Exposition ; Development ; Recapitulation -- Mozart, Piano Sonata in B major, K. 333, allegro. Exposition ; Development -- Part 8. Introduction to nineteenth-century harmony: the shift from asymmetry to symmetry. New harmonic tendencies. Tonal ambiguity: the plagal relation and reciprocal process -- Tonal ambiguity: semitonal voice leading. Semitonal voice leading and remote keys -- Tonal clarity postponed: off-tonic beginning -- Double tonality -- Symmetry: the diminished seventh chord and enharmonic modulation. Analysis -- Analytical interlude -- 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 -- Melodic and harmonic symmetry combine: chromatic sequences. Distinctions between diatonic and chromatic sequences -- Details of chromatic sequences -- Chromatic sequence types. The D2 (-P4/+m3) sequence -- The chromatic forms of the D2 (-5/+4) sequence -- The chromatic forms of the A2 (-3/+4) sequence -- Other chromatic step-descent basses. Six-three chords -- Diminished seventh chords -- Augmented sixth chords -- Writing chromatic sequences -- Chromatic contrary motion. The omnibus -- A final equal division of the octave sequential progressions -- Nonsequential progressions and equal divisions of the octave -- The intervallic cell. Analytical interlude: Chopin, Prelude, op. 28, no. 2 -- Part 9. Twentieth- and twenty-first-century music. Vestiges of common practice and the rise of a new sound world. Centricity -- Form and process -- Always the same, but never in the same way: melodies, motives, harmony, and line -- Triadic extensions. Split-third ninths -- Another way to stack intervals -- Pitch classes (PC) and collections. Seven-note collections: diatonic modes -- Five-note collections: pentatonic -- More symmetry: six-note collections -- Pitch-class collections with six members #1: whole-tone collection. Combining collections: the intersection of quartal and whole-tone worlds -- Pitch-class collections with six members #2: hexatonic collection. Major and minor triads within the hexatonic scale -- Eight-note collections: octatonic. Subsets -- Seventh chord subsets -- Form -- Noncentric music: atonal concepts and analytical methodology. A new sound world -- A first analysis. Limitations -- Pitch and pitch-class space -- Equivalence. Equivalence in tonal and nontonal music -- Demonstration of equivalence in nontonal music -- Integer notation. In pitch space -- In pitch-class space -- PC sets and modular arithmetic. The clock -- More on equivalence classes. Transposition -- Inversion -- Computing and comparing: P and PC space. Ordered intervals. Ordered pitch intervals ; Ordered pitch-class intervals -- Unordered intervals. Unordered pitch intervals ; Unordered pitch-class intervals -- Mod-12 inverses and interval classes -- P sets and PC sets with three or more members. Index numbers -- A systematic approach. Step 1: segmentation [right arrow] pitch collection [right arrow] pitch-class collection -- Step 2: normal order -- Step 3: best normal order (BNO). Wrinkles -- Step 4: prime form (PF) and set class. Enter the clock: normal order straight to prime form -- Symmetrical sets. Invariance -- Interval class vector -- Checking your work -- A curiosity in the PC world -- New rhythmic and metric possibilities, ordered PC relations, and twelve-tone techniques. Meter and rhythm. Asymmetrical meters -- Added rhythmic values -- Nonretrogradable rhythm -- Changing meters -- Accelerating or decelerating tempo: metric modulation -- Twelve-tone music. Row as melody and harmony -- Analyzing twelve-tone music: Schoenberg's "Walzer," op. 23, no. 5 -- A cursory glance at the rest of the piece -- Transforming the row: twelve-tone operators (TTOs). Definitions and properties of TTOs -- Labeling row forms -- Application of twelve-tone rows -- Berg, Lyric Suite. Contour -- Ordered PC intervals -- Unordered P intervals -- Multiple row forms -- The twelve-tone matrix. Shortcuts -- Simultaneous row forms: combinatoriality -- Schoenberg's signature procedures: inversional combinatoriality. Emergence of P₉ and I₂ -- The Violin Concerto's surface -- Generalizing inversional combinatoriality -- Variance versus invariance. Invariance and symmetry -- Generalizing inversional combinatoriality and inversional invariance -- Appendices. Invertible counterpoint, compound melody, and implied harmonies -- The motive -- Additional harmonic-sequence topics -- Abbreviations and acronyms -- Selected answers to textbook exercises. |
| Abstract |
Beginning with music fundamentals, this book covers all the topics necessary for a thorough understanding of undergraduate music theory by focusing on music in context. Rather than rote learning of concepts and memorizing terms, the book emphasizes how theory informs the work of performers. Composers respond not only to their instincts, experiences, and training in every work they write; they also follow certain ideals and models when appropriate, and modify them to fit their own personal vision. Theory is not a "theoretical" activity; it is a living one that responds to how music is composed and performed. Understanding how theory intersects with composition and performance is key to seeing its relevance to students' wider musical lives. This book makes this connection. |
| General note | Previous edition: 2012. |
| General note | Includes index. |
| LCCN | 2015023385 |
| ISBN | 9780199347094 (paperback ; alkaline paper) |
| ISBN | 0199347093 |
