| Preface |
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xi | |
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Simple Meter, Rests and Phrases; The Major Mode, Major Triads and Tonic Function |
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1 | (87) |
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Beats, their First Divisions and Multiples, and Simple Meters |
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1 | (7) |
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Second Division and Second Multiple of the Beat in Simple Meter |
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8 | (7) |
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15 | (5) |
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20 | (5) |
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25 | (4) |
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Major Scales and Major Scale Degrees |
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29 | (7) |
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36 | (10) |
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46 | (10) |
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Perfect Fifths and Octaves |
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56 | (9) |
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Major Triads in Root Position |
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65 | (8) |
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Improvisation I: Tonic Function |
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73 | (5) |
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Music from the Literature |
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78 | (6) |
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Reflections: Why Study Solfege? |
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83 | (1) |
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84 | (4) |
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Compound Meters, Ties and Dots; The Minor Mode and Inverted Triads |
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88 | (67) |
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88 | (7) |
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Ties and Dotted Rhythms in Simple Meter |
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95 | (7) |
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Minor Scales and Minor Scale Degrees |
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102 | (9) |
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111 | (8) |
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119 | (9) |
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Minor Triads in Root Position |
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128 | (8) |
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Major and Minor Triads in Inversion |
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136 | (8) |
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Music from the Literature |
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144 | (6) |
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Reflections: Professionalism |
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149 | (1) |
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150 | (5) |
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Changing Meter; Second Division in Compound Meter; The Dominant Sound |
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155 | (55) |
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Changing Meter I: Simple Changing Meter |
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155 | (5) |
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Second Division of the Beat in Compound Meter |
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160 | (6) |
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Minor Sevenths and Tritones |
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166 | (9) |
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175 | (9) |
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184 | (9) |
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Improvisation II: Dominant Function |
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193 | (6) |
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Music from the Literature |
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199 | (5) |
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204 | (1) |
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204 | (6) |
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Triplets and Duplets; Seventh Chords and Predominant Function |
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210 | (60) |
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Irregular Divisions I: Triplets and Duplets |
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210 | (10) |
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220 | (8) |
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228 | (7) |
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Major-Major and Minor-Minor Seventh Chords |
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235 | (10) |
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Diminished Seventh Chords |
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245 | (9) |
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Improvisation III: Predominant Function |
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254 | (7) |
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Music from the Literature |
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261 | (4) |
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264 | (1) |
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265 | (5) |
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Less Common Meters; C Clefs and Harmonic Progression |
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270 | (23) |
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Less Common Simple and Compound Meters |
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270 | (5) |
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Reading the Alto and Tenor Clefs |
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275 | (7) |
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282 | (1) |
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Frequently Used Progressions |
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283 | (3) |
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Improvising Melodies Over Harmonic Progressions |
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286 | (1) |
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Progressions for Arpeggiation and Improvisation |
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287 | (2) |
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Reflections: Presevervance |
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288 | (1) |
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289 | (4) |
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Syncopation; Beginning Non-Modulating Chromaticism |
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293 | (34) |
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293 | (8) |
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The Chromatic Scale and Surface Chromaticism |
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301 | (9) |
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310 | (8) |
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Music from the Literature |
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318 | (4) |
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321 | (1) |
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322 | (5) |
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Triplets and Duplets; More Non-Modulating Chromaticism |
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327 | (55) |
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Irregular Divisions II: Triplets and Duplets in Augmentation and Diminution |
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327 | (8) |
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Secondary Dominants and Leading Tone Chords |
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335 | (12) |
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347 | (8) |
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355 | (8) |
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Extended and Altered Dominant Chords |
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363 | (8) |
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Music from the Literature |
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371 | (5) |
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375 | (1) |
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376 | (6) |
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Triplets; Other Clefs; Beginning Modulation |
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382 | (37) |
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Divisions of the Beat into Numbers Greater than Four |
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382 | (6) |
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388 | (2) |
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Modulation to Closely Related Keys |
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390 | (11) |
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Diatonic Modulation to Distantly Related Keys |
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401 | (11) |
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Music from the Literature |
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412 | (4) |
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Reflections: Performance Preparation |
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415 | (1) |
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416 | (3) |
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Reading Complex Rhythms; More Complex Modulation |
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419 | (31) |
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419 | (4) |
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Direct, Chromatic, and Enharmonic Modulation |
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423 | (13) |
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Rapidly Shifting and Unexpected Tonalities |
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436 | (6) |
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Music from the Literature |
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442 | (5) |
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Reflections: Energy, Space, and Time |
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445 | (2) |
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447 | (3) |
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Twentieth-century Rhythmic Techniques |
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450 | (28) |
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Changing Meter II: Complex Changing Meter |
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450 | (8) |
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458 | (9) |
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467 | (6) |
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Reflections: Understanding and Appreciating Twentieth-century Music |
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472 | (1) |
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473 | (5) |
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Twentieth-century Material based on Tonal Models |
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478 | (44) |
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Pentatonic and Blues Scales |
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478 | (9) |
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487 | (8) |
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495 | (13) |
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Polytonality and Polymodality |
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503 | (5) |
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Music from the Literature |
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508 | (3) |
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Non-Western Music from the Literature |
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511 | (7) |
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Reflections: Being an Advocate for Music |
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518 | (1) |
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518 | (4) |
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Twentieth-century Material based on Non-Tonal Models |
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522 | (50) |
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Whole-tone, Octatonic, and Other Non-Tonal Scales |
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522 | (8) |
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530 | (8) |
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Atonal Trichords and Manipulating Atonal Sets |
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538 | (9) |
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Larger Atonal Sets and Serial Music |
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547 | (6) |
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Music from the Literature |
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553 | (7) |
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Reflections: A Life of Solfege |
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559 | (1) |
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560 | (3) |
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Appendix A Glossary of Musical Terms |
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563 | (4) |
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Appendix B Syllable Systems |
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567 | (3) |
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Appendix C Using Your Voice |
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570 | (2) |
| Index of Musical Examples |
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572 | |