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E-raamat: Theory Essentials for Today''s Musician (Textbook)

Ralph Turek (University of Akron, USA), Daniel McCarthy (University of Akron, USA)

Formaat: 400 pages
Ilmumisaeg: 03-Jan-2018
Kirjastus: Routledge
Keel: eng
ISBN-13: 9781351781060

Teised raamatud teemal:

Theory of music & musicology

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Formaat: 400 pages
Ilmumisaeg: 03-Jan-2018
Kirjastus: Routledge
Keel: eng
ISBN-13: 9781351781060

Teised raamatud teemal:

Theory of music & musicology

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Theory Essentials for Today’s Musician offers a review of music theory that speaks directly and engagingly to modern students. Rooted in the tested pedagogy of Theory for Today’s Musician, the authors have distilled and reorganized the concepts from the thirty-three chapters of their original textbook into twenty-one succinct, modular chapters that move from the core elements of harmony to further topics in form and 20th-century music. A broad coverage of topics and musicals styles—including examples drawn from popular music—is organized into four key parts:Basic ToolsChromatic HarmonyForm and AnalysisThe 20th Century and BeyondTheory Essentials features clear and jargon-free (yet rigorous) explanations appropriate for students at all levels, ensuring comprehension of concepts that are often confusing or obscure. An accompanying workbook provides corresponding exercises, while a companion website presents streaming audio examples. This concise and reorganized all-in-one package—which can be covered in a single semester for a graduate review, or serve as the backbone for a briefer undergraduate survey—provides a comprehensive, flexible foundation in the vital concepts needed to analyze music.PURCHASING OPTIONSTextbook and Workbook Package (Paperback): 9781138098756Textbook Only (Hardback): 9781138708815Textbook Only (Paperback): 9781138708822Textbook Only (eBook): 9781315201122Workbook Only (Paperback): 9781138098749Workbook Only (eBook): 9781315103839

To the Instructor

xiii

PART ONE BASIC TOOLS

1 Elements of Diatonic Harmony

(16)

Lead Sheet Notation

(2)

Lead-Sheet Chord Symbols; Expanded Symbols

Figured Bass Notation

(3)

Realizing a Figured Bass

The Diatonic Chords

(5)

Diatonic Triads in Major Keys; Roman Numeral Symbols; The Primary Triads; Diatonic Triads in Minor Keys; Showing Inversion; The Diatonic Seventh Chords

Functional Tonality

(3)

Chord Function; The Circle of Fifths; Harmonic Motion

The Ground Bass

(3)

The Common Practice Period

2 Cadences and Harmonic Rhythm

(12)

Cadences

(8)

Cadence defined; Cadences and Style; Standard Cadences; Cadential Variants

Harmonic Rhythm

(4)

Harmonic Rhythm Defined; Harmonic Rhythm and Meter

3 The Outer-Voice Framework/Embellishing Tones

(14)

Melodic Principles

(2)

Voice Ranges; Motion between Voices

Creating an Outer-Voice Framework

(3)

1:1 Counterpoint

Embellishing Tones

(9)

Step-Step Combinations; Step-Leap Combinations; Step-"Rep" Combinations

4 Part Writing and Chorale Analysis I

(18)

The Four-Voice Texture

(1)

Review of Melodic Principles

(1)

Voicing Chords

(3)

Spacing; Doubling

Connecting Chords

(4)

Consecutive Perfect Fifths and Octaves; Voice Crossing and Overlap; Common Tones

The Chorale

(1)

Root-Position Triads

(5)

Guidelines for Connecting Root-Position Triads; The Short Rule of Chord Connection

Part Writing Suspensions in Root Position

(4)

Doubling in Suspensions; Suspensions in Bach's Chorales

5 Part Writing and Chorale Analysis II

(14)

First Inversion

(6)

Inversion and Bass Line; Doubling; Chord Connection; Harmonic Weight; Suspensions

Second Inversion

(8)

Doubling; The Cadential Six-Four Chord; The Passing Six-Four Template; The Pedal Six-Four Chord; The Arpeggiated Six-Four Chord

6 Part Writing and Chorale Analysis III

(14)

Dominant-Functioning Seventh Chords

(7)

The V7: Common Practice; The Unresolved Leading Tone; The Unresolved Seventh; Delayed Resolution; The Leading Tone Seventh Chord

Non-Dominant Seventh Chords

(5)

Function, Resolution, Frequency, Inversion, Incomplete Chords, Altered Forms; Seventh Chords and Chain Suspensions; The I7

Voice Leading Summary

(2)

PART TWO CHROMATIC HARMONY

(100)

7 Secondary Function

(14)

Secondary Dominants

(5)

Tonicization; The Tonicizing Tritone

Secondary Leading Tone Chords

(2)

The Secondary Leading Tone Triad

Voice Leading

100

(7)

Basic Principles; Secondary Function and Chromatic Lines; Harmonic Sequence and Secondary Function

8 Modulation I

107

(14)

Modulation Defined

107

(1)

Modulation by Common Chord

107

(5)

Pivot Chord Defined; Crossing the Tonal Border; Multiple Common Chords

Chromatic Modulation

112

(9)

Chromatic Modulation Defined; The Rule of Chromatics; Multiple Accidentals; Modulation or Tonicization?

9 Mixing Modes

121

(16)

Vocabulary and Syntax

121

(1)

Change of Mode

121

(4)

Change of Mode Defined; Keys Related through Mode Mixture; Enharmonic Change of Mode

Modal Borrowing

125

(4)

Modal Borrowing Defined; Common Borrowed Harmonies; Voice Leading

Chromatic-Third Relationships

129

(8)

Diatonic versus Chromatic Third Relationship; The Common Chromatic-Third Relationships; Chromatic Thirds, Mode Mixture, and Tonicization; Voice Leading

10 Altered Predominant and Dominants

137

(18)

The Neapolitan Sixth Chord

137

(6)

Neapolitan Sixth Chord Defined; The Harmonic Nature of the Neapolitan; Insertions before V

Augmented Sixth Chords

143

(8)

The Augmented Sixth Interval; Types of Augmented Sixth Chord; Constructing an Augmented Sixth Chord; Voice Leading; The Neapolitan and Augmented Sixth Chords

Altered Dominants

151

(4)

Altered Dominants Defined; The Raised Fifth; The Lowered Fifth; Altered Secondary Dominants

11 Modulation II

155

(20)

"In Search of Harmonic Logic"

155

(1)

Recognizing the Signals

155

(3)

Chromatic Pitches; Clue Chords; Cadences; Thinking Through a Modulation

The Tonal Border

158

(7)

Chromatic Modulations

Enharmonic Function

165

(10)

The Enharmonic German Sixth Chord; The Enharmonic Diminished Seventh Chord

12 Harmonic Extensions and Chromatic Techniques

175

(16)

Climbing the Overtone Series

175

(1)

The Dominant Ninth Chord

175

(7)

Types of Dominant Ninth Chord; Secondary Dominant Ninth Chords; Inverted Ninth Chords

Other Ninth Chords

182

(1)

Eleventh Chords

182

(1)

Thirteenth Chords

182

(4)

Linear Chromaticism

186

(2)

Harmonic Sequence

188

(3)

PART THREE FORM AND ANALYSIS

191

(80)

13 Melodic Form

193

(14)

Within the Phrase: Motive and Sequence

193

(1)

The Phrase

194

(4)

Phrase Length; Phrases and Cadences; The Musical Sentence; Phrase Relationships

Combining and Extending Phrases

198

(9)

The Period; Parallel Period; Contrasting Period; Phrase Group; Double Period; Cadential Elision; Cadential Extension

14 Contrapuntal Forms

207

(24)

J. S. Bach's Chorale Harmonizations

207

(1)

Bach's Two-Part Inventions

208

(2)

The Bach Inventions (Profile); Motive and Countermotive; The Devices of Counterpoint

Analysis of Invention No. 6

210

(8)

Invertible Counterpoint; Sequence; Fragmentation; Tonality; Implied Harmony; Invention Analysis Checklist

The Fugue

218

(8)

Fugue Defined; Subject and Answer; Real and Tonal Answers; The Exposition; Subsequent Entries and Episodes; The Final Statement--The Closing Section; Link, Counterexposition, and Coda

Analysis: Bach Fugue No. 16(WTC, Book I)

226

(5)

15 Small Forms

231

(18)

Ways of Looking at Form

231

(5)

Motivic Analysis; Similarity and Contrast; Musical Processes

Statement and Restatement

236

(4)

The Coda

240

(2)

Statement and Contrast/Binary Forms

242

(2)

Sectional versus Continuous Forms; Symmetric versus Asymmetric Forms

Statement- Contrast- Restatement

244

(5)

Rounded Binary versus Ternary Form

16 Sonata Form

249

(14)

A Brief History

249

(1)

Origins; Establishment, Departure and Return

Mozart: Eine kleine Nachtmusik (first movement)

250

(11)

The Exposition; Primary Tonality and Theme; Transition; Secondary Tonality and Theme; Closing Area; Development; Retransition; Recapitulation; Coda

Summary of Eine kleine Nachtmusik (first movement)

261

(2)

17 Rondo

263

(8)

Perspective

263

(1)

Refrain and Episode

Beethoven: Piano Sonata op. 13(second movement)

264

(7)

The Rondo Theme; The First Episode; The First Refrain; The Second Episode; The Second Refrain; The Coda; Summary

PART FOUR THE 20TH CENTURY AND BEYOND

271

(84)

18 Syntax and Vocabulary

273

(16)

Syntax

273

(4)

Debussy's Syntax; Planing; The Non-Functional Mm7 Chord;

Modality

277

(3)

The Church Modes; Modal Cadences

New Melodic and Harmonic Structures

280

(9)

Pentatonicism; Quartal and Quintal Harmonies; The Whole Tone Scale; Other Scales

19 New Tonal Methods

289

(12)

New Tonal Ventures

289

(7)

Quartal Harmonies; Polychords; Polytonality; Bimodality and Dual Modality; Pandiatonicism

Stravinsky

296

(2)

Stravinsky (Profile); The Rite of Spring

Bartok

298

(3)

Bartok (Profile); "Boating" (from Mikrokosmos Book V)

20 Non-Serial Atonality

301

(18)

Perspective

301

(1)

Atonality: Tools and Terminology

301

(4)

Unordered Set Analysis

305

(3)

Normal Order and Set Type

Analyzing the Set Type

308

(5)

Best Normal Order; Prime Form; The Interval Class Vector; The Z Relationship; The Set Class

Applications in Analysis

313

(3)

Hints for Analysis

316

(3)

Another Way

21 Serial Atonality

319

(36)

Serialism

319

(5)

Serialism Defined; Basic Tenets

The Matrix

324

(2)

Constructing a Matrix; Indexing a Matrix

Finding the Row

326

(5)

Hexachordal Symmetry

331

(24)

Appendix A Intervals, Modes and Key

355

Appendix B Selected Rhythm Topics

339

(8)

Appendix C Basic Harmonic Structures

347

(4)

Appendix D Part-Writing Guidelines

351

(2)

Glossary

353

(18)

Credits

371

(2)

Index

373

(6)

Track Listing

379

Ralph Turek is a theorist, composer, author, jazz pianist, Professor Emeritus at The University of Akron, and a veteran of thirty-five years of teaching in the music theory classroom. He is the co-author of Theory for Todays Musician.

Daniel McCarthy is a familiar name in contemporary American music. As a composer, he has received distinguished faculty research/creativity awards at Indiana State University and The University of Akron, where he is Chair of the Composition and Theory Section in the School of Music. He is the co-author of Theory for Todays Musician.

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