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978-1259447099 Chapter 1
1 CHAPTER 1 Elements of Pitch Most of the material in this chapter will already be familiar to the typical college music major. Nothing should be taken for granted, however, and scales should get special attention. Students should be strongly […]
978-1259447099 Chapter 10
48 CHAPTER 10 Cadences, Phrases, Periods, and Sentences This chapter introduces the student to formal analysis. The emphasis here is on the phrase and on small structures that combine phrases, in contrast to the details of harmony and voice leading […]
978-1259447099 Chapter 11
54 CHAPTER 11 Two-Part Tonal Counterpoint The introduction to soprano/bass counterpoint included in Chapter 8 is expanded here to provide more detail and context for students practicing the composition of musically sensitive outer–voice textures. Our approach combines elements of traditional […]
978-1259447099 Chapter 12
58 CHAPTER 12 Non-Chord Tones 1 The student will be familiar by this time with the concept of the non–chord tone from many of the examples in preceding chapters. What remains is to categorize them, which we do by means […]
978-1259447099 Chapter 13
64 CHAPTER 13 Non-Chord Tones 2 This chapter explains appoggiaturas, escape tones, the neighbor group, anticipations, and the pedal point. This is followed by a brief discussion of some problems that can arise in analysis. Unfortunately, practice at aural identification […]
978-1259447099 Chapter 14
70 CHAPTER 14 The V7 Chord Most theory instructors will probably agree that the resolution of the root position V7 is the most challenging partwriting problem that the student will face in the study of tonal harmony. This might come […]
978-1259447099 Chapter 15
79 CHAPTER 15 Other Diatonic Seventh Chords The unit on diatonic seventh chords concludes with this chapter devoted to all of the diatonic seventh chords other than the V7. The most commonly encountered of these are the ii7 (iiø7) and […]
978-1259447099 Chapter 16
85 CHAPTER 16 Secondary Functions 1 We begin the study of chromaticism with a chapter on the secondary V and V7 chords. Our approach is first to treat the spelling and recognition of these chords in the abstract, after which […]
978-1259447099 Chapter 17
95 CHAPTER 17 Secondary Functions 2 The unit on secondary functions continues with a discussion of secondary leading–tone chords, this part of the chapter paralleling the approach used in Chapter 16. Intensive chord spelling and recognition drills should be continued […]
978-1259447099 Chapter 18
104 CHAPTER 18 Modulations Using Diatonic Common Chords Modulation is an extension to a deeper level of the tonicizing secondary function, although the distinction between the two frequently cannot be clearly defined. This chapter begins the discussion of modulation by […]
978-1259447099 Chapter 19
113 CHAPTER 19 Some Other Modulatory Techniques This chapter continues the discussion of modulatory techniques begun in Chapter 18. While perhaps not exhausting the possibilities, these two chapters, along with the modulations discussed in Chapters 21 and 23, certainly account […]
978-1259447099 Chapter 2
11 CHAPTER 2 Elements of Rhythm Most music students have a practical understanding of durational symbols and time signatures, although some confusion over compound time signatures can be expected. Practice with aural identification of beat and meter types is helpful, […]
978-1259447099 Chapter 20
119 CHAPTER 20 Larger Forms This chapter continues the study of musical forms that was begun in Chapter 10, where phases, periods, and the sentence were introduced. Here we discuss binary and ternary forms, sonata form, and the rondo. Binary […]
978-1259447099 Chapter 21
126 CHAPTER 21 Mode Mixture and the Neapolitan Because we view § and ¶ in minor as variable scale degrees, we do not categorize IV, v, and VII in minor as examples of mode mixture. In fact, the major tonic […]
978-1259447099 Chapter 22
131 CHAPTER 22 Augmented Sixth Chords When introducing augmented sixth chords, we take as our starting point the interval of the augmented sixth from which the chord gets its name, demonstrating that it is the result of two “leading tones” […]
978-1259447099 Chapter 23
138 CHAPTER 23 Enharmonic Spellings and Enharmonic Modulations The topic of enharmonicism may be dear to the hearts of many instructors, but to some students it is a difficult hurdle, the one complication too many piled onto the harmonic stack. […]
978-1259447099 Chapter 24
144 CHAPTER 24 Further Elements of the Harmonic Vocabulary This chapter is concerned with four topics, none of which are at all exotic or exceptional in music of the tonal era: (1) the dominant with a substituted sixth, (2) the […]
978-1259447099 Chapter 25
149 CHAPTER 25 Tonal Harmony in the Late Nineteenth Century This chapter describes a number of characteristics of tonal music of the late nineteenth and early twentieth centuries. The analysis of this music is problematic and presents a challenge even […]
978-1259447099 Chapter 26
155 CHAPTER 26 Materials and Techniques Most twentieth–century composers departed radically from the music of the past. Gone is the great tonal tradition, the harmonic practice that provided a common ground among composers separated by decades and even centuries, no […]
978-1259447099 Chapter 27
166 CHAPTER 27 Post-Tonal Theory In this chapter the student is introduced to the elements of post–tonal theory, from pitch–class sets to integral serialism. While some students will be intrigued by the mathematical logic involved in the manipulation of pitch– […]
978-1259447099 Chapter 28
180 CHAPTER 28 New Directions This final chapter introduces the student to a wide range of topics: explorations of texture, timbre, and tuning; indeterminacy; minimalism; and electronic and computer music. Most of these topics contain sub–topics that acquaint the student […]
978-1259447099 Chapter 3
17 CHAPTER 3 Introduction to Triads and Seventh Chords In this chapter the student learns to spell and recognize the four triad types and the five common seventh chord types. These are treated as individual sonorities, isolated for now from […]
978-1259447099 Chapter 4
24 CHAPTER 4 Diatonic Chords in Major and Minor Keys This chapter begins by attempting to dispel the notion, so often held by students, that a tonal composer chooses from a menu of three scales before beginning a piece in […]
978-1259447099 Chapter 5
28 CHAPTER 5 Principles of Voice Leading This chapter serves as an introduction to the composition (partwriting) exercises that begin in Chapter 6. After some guidance in the composition of simple melodies in chorale style, the student learns spacing conventions […]
978-1259447099 Chapter 6
32 CHAPTER 6 Root Position Partwriting This chapter deals with partwriting root position triads in four– and three–part textures, presented in that order. Many instructors prefer to restrict their students to four–part textures only, and this may certainly be done […]
978-1259447099 Chapter 7
37 CHAPTER 7 Harmonic Progression and the Sequence This chapter begins with an introduction to melodic and harmonic sequences, using this topic as a means to explain the norms of tonal harmonic progressions. We take the root movement of the […]
978-1259447099 Chapter 8
40 CHAPTER 8 Triads in First Inversion Combinations of root position and first inversion triads should result in a much higher degree of musicality in composition exercises. The introduction to soprano/bass counterpoint that is the final portion of the chapter […]
978-1259447099 Chapter 9
44 CHAPTER 9 Triads in Second Inversion Today’s students often have a difficult time accepting the notion that a triad is dissonant (unstable) simply because it occurs in second inversion. We have found it useful at this point to emphasize […]