Preface |
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xix | |
Visual Tour |
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xxviii | |
Acknowledgments |
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xxxi | |
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PART ONE IN LIEU OF FUNDAMENTALS |
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1 | (32) |
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5 | (15) |
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The Staff and Its Clefs; Solmization; The Hexachord System; Accidentals |
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5 | (3) |
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Modes, Scales, and Evolution |
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Church Modes; Musica Ficta |
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8 | (3) |
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Meter; The Dot; Early Meter Signatures; Hypermeter |
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11 | (4) |
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Overtones; The Legend of Pythagoras; Equal Temperament |
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15 | (3) |
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18 | (1) |
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19 | (1) |
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20 | (13) |
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Perspective: Five Ways to Express an Octave |
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20 | (1) |
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21 | (4) |
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Intervals of the Major Scale |
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25 | (2) |
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Inversion; Enharmonic Intervals; Simple versus Compound; Diatonic versus Chromatic; Consonance versus Dissonance |
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27 | (4) |
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31 | (1) |
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32 | (1) |
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PART TWO DIATONIC HARMONY |
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33 | (64) |
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3 Basic Harmonic Structures |
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35 | (13) |
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Harmony and Chord; Basic Triads; Stability and Color |
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35 | (4) |
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Inversion and Bass Line; Determining Chord Inversion |
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39 | (3) |
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Classification of Seventh Chords; Inverted Seventh Chords |
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42 | (5) |
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47 | (1) |
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47 | (1) |
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4 Musical Shorthand: Lead Sheets and Figured Bass |
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48 | (13) |
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Lead-Sheet Chord Symbols; Expanded Symbols; Passing Tones |
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48 | (4) |
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More on Chord Inversion: The Numbers Game |
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52 | (2) |
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54 | (6) |
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60 | (1) |
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60 | (1) |
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5 Harmonies of the Major and Minor Scales |
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61 | (19) |
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Diatonic Triads in Major Keys; Roman Numeral Symbols; The Primary Triads; Diatonic Triads in Minor Keys; Showing Inversion; The Diatonic Seventh Chords |
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61 | (7) |
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Chord Function; The Circle of Fifths; Progression, Retrogression, and Repetition; The Ground Bass |
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68 | (11) |
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The Common Practice Period |
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79 | (1) |
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79 | (1) |
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6 Cadences/Harmonic Rhythm |
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80 | (17) |
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Cadences and Style; Standard Cadences; Cadential Variants; Summary of Standard Cadences |
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80 | (11) |
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91 | (5) |
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96 | (1) |
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96 | (1) |
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97 | (68) |
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7 Melodic Pitch and Rhythm |
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99 | (21) |
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Range, Interval Structure, and Gesture |
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Range; Interval Structure; Gesture |
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99 | (6) |
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Motive; Sequence; Types of Sequences |
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105 | (7) |
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Scales and Arpeggios; Large-Scale Events; Melodic Tonality; Recognizing Important Pitches; Tonic-Dominant Axis |
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112 | (7) |
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119 | (1) |
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119 | (1) |
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120 | (20) |
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122 | (1) |
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Passing Tones; Neighbor Tones |
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122 | (3) |
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Appoggiatura; Escape Tone; Double Neighbors |
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125 | (2) |
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Step--Repetition Combinations |
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Anticipation; Suspension and Retardation; Other Ways to Designate Suspensions |
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127 | (5) |
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Embellishing Tones and Style |
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Multiple Embellishing Tones; Embellishing Tones in Jazz; Embellishing Tones as Motives; The Embellishing Chord Tone |
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132 | (7) |
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139 | (1) |
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139 | (1) |
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140 | (25) |
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What is a Phrase? Phrase Length; Phrases and Cadences; The Musical Sentence; Phrase Relationships |
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140 | (8) |
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Combining and Extending Phrases |
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The Period; Parallel Period; Contrasting Period; Phrase Group; Double Period; Cadential Elision; Cadential Extension |
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148 | (15) |
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163 | (1) |
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164 | (1) |
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165 | (78) |
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10 Melodic Principles of Part Writing/The Outer-Voice Framework |
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167 | (11) |
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Interval Motion; Sensitive Tones; Types of Motion Between Voices |
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167 | (2) |
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Creating an Outer-Voice Framework |
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1:1 Counterpoint; 2:1 Counterpoint |
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169 | (8) |
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177 | (1) |
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177 | (1) |
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11 The Melodic Factor in Four-Voice Part Writing/Voicing and Connecting Chords |
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178 | (15) |
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Perspective: Why Four Parts? |
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178 | (1) |
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Review of Melodic Principles |
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179 | (2) |
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Spacing; Doubling; Alternative Doubling |
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181 | (3) |
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Consecutive Perfect Fifths and Octaves; Voice Crossing and Overlap; Common Tones |
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184 | (7) |
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191 | (1) |
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192 | (1) |
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12 Part Writing with Root-Position Triads/The Chorale |
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193 | (13) |
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193 | (1) |
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194 | (1) |
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Part Writing with Root-Position Triads |
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Fifth Relationship/Part Writing the AC, PC, and HC; Third Relationship; Second Relationship; Warning! Part-writing Hazard!; Part Writing the Deceptive Cadence |
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194 | (8) |
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202 | (3) |
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205 | (1) |
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205 | (1) |
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13 Part Writing with Triads in Inversion |
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206 | (19) |
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206 | (1) |
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Inversion and Bass Line; Doubling in First Inversion; Why Not the Other Tone?; Chord Connection; Inversion and Harmonic Weight; Suspensions and First Inversion |
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207 | (8) |
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Cadential Six-Four Chord; Passing Six-Four Chord; Pedal Six-Four Chord; Arpeggiated Six-Four Chord; Six-Four Chord Variants |
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215 | (8) |
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223 | (1) |
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224 | (1) |
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14 Part Writing Seventh Chords |
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225 | (18) |
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225 | (1) |
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Seventh Chords of Dominant Function |
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The V7; Chord Member or Not?; The Unresolved Leading Tone; The Unresolved Seventh; Delayed Resolution; The Leading-Tone Seventh Chord |
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226 | (6) |
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Nondominant Seventh Chords |
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Where Judgement Enters; Seventh Chords and Chain Suspensions; The 17; Voice-Leading Summary |
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232 | (9) |
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241 | (1) |
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241 | (2) |
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PART FIVE BASIC CHROMATIC HARMONY |
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243 | (52) |
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245 | (18) |
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The V/x; Tonicization; The Tonicizing Tritone; The V7/x |
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245 | (7) |
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Secondary Leading-Tone Chords |
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vii0/X; vii0/x, vii07/x, vii07/x |
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252 | (3) |
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Doubling and Resolution; Secondary Function and Chromatic Lines; Harmonic Sequence and Secondary Function |
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255 | (6) |
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261 | (1) |
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262 | (1) |
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263 | (14) |
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263 | (1) |
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V7/X; Expanding (Prolonging) a Tonicization; vii07/x; The Tonicizing TV? |
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264 | (9) |
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273 | (3) |
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276 | (1) |
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276 | (1) |
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277 | (18) |
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277 | (1) |
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Modulation by Common Chord |
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Crossing the "Tonal Border;" Multiple Common Chords; Closely Related Keys |
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278 | (8) |
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The Rule of Chromatics; Multiple Accidentals; Modulation or Tonicization? |
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286 | (7) |
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293 | (1) |
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294 | (1) |
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295 | (40) |
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18 The Art of Countermelody |
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297 | (25) |
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The Basics of Two-Voice Counterpoint |
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Motion between Voices Reviewed; Note-Against-Note Counterpoint; Converting 1:1 to 2:1; Essentials of Counterpoint; Converting 2:1 to 4:1; Counterpoint in Jazz and Popular Styles |
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297 | (11) |
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J. S. Bach's Chorale Harmonizations |
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Polyphonic or Homophonic? |
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308 | (2) |
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Bach's Two-Part Inventions |
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The Bach Inventions; Motive and Countermotive; The Devices of Counterpoint |
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310 | (5) |
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Analysis: Invention No. 6 |
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Invertible Counterpoint; Sequence; Fragmentation; Tonality; Implied Harmony; Form |
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315 | (5) |
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Invention Analysis: A Checklist |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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322 | (13) |
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Subject and Answer; Real and Tonal Answers; The "Prominent Dominant"; The Exposition; Entries and Episodes; The Ending; Summary; Link, Counterexposition, and Coda |
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322 | (8) |
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Analysis: Bach Fugue No. 16 from The Well-Tempered Clavier, Book I |
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330 | (4) |
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334 | (1) |
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334 | (1) |
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PART SEVEN ADVANCED CHROMATIC HARMONY |
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335 | (100) |
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337 | (23) |
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Perspective: Adding to the Palette |
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337 | (1) |
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Mode and Mood; Keys Related through Mode Mixture; Enharmonic Change of Mode |
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338 | (4) |
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Modal Borrowing versus Change of Mode; Common Borrowed Harmonies; Voice Leading; Modal Borrowing And Style |
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342 | (9) |
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Chromatic-third Relationships |
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Diatonic vs. Chromatic-Third Relationship; The Common Chromatic-Third Relationships; Chromatic Thirds, Mode Mixture, and Tonicization; Voice Leading |
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351 | (8) |
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359 | (1) |
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359 | (1) |
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360 | (18) |
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360 | (1) |
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The Neapolitan Sixth Chord |
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The Neapolitan Chord; The Harmonic Nature of the Neapolitan; Insertions before V |
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361 | (6) |
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The Augmented Sixth; The Augmented Sixth Chord in Three Flavors; Constructing an Augmented Sixth Chord; The Enharmonic German Sixth Chord; Voice Leading |
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367 | (10) |
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377 | (1) |
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377 | (1) |
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22 Other Chromatic Harmonies |
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378 | (14) |
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378 | (6) |
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Embellishing Diminished Seventh Chords |
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Functional versus Embellishing Diminished Seventh Chords; Spelling and Resolving the Embellishing 07 |
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384 | (7) |
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391 | (1) |
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391 | (1) |
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392 | (22) |
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Perspective: "In Search of Harmonic Logic" |
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392 | (1) |
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The Three Cs: Recognizing the Signals |
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Chromatic Pitches; Clue Chords; Cadences; Thinking Tour Way Through a Modulation |
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393 | (3) |
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396 | (8) |
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The Secret Lives of Chords |
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The Enharmonic German Sixth Chord; The Enharmonic Diminished Seventh Chord |
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404 | (9) |
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413 | (1) |
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413 | (1) |
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24 Harmonic Extensions and Chromatic Techniques |
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414 | (21) |
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Triadic Extensions: Climbing the Overtone Series |
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The Dominant Ninth Chord; Common Voicings; Inverted Ninth Chords; Secondary Dominant Ninth Chords; Other Ninth Chords; Eleventh Chords; Thirteenth Chords |
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414 | (14) |
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428 | (2) |
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430 | (3) |
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433 | (1) |
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433 | (2) |
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435 | (50) |
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25 Binary and Ternary Forms |
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437 | (24) |
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Three Ways of Looking at Form |
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Motivic Analysis; Similarity and Contrast; Musical Processes |
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437 | (7) |
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Statement and Restatement |
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444 | (3) |
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447 | (2) |
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Sectional versus Continuous Forms; Symmetric versus Asymmetric Forms |
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449 | (3) |
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Statement--Contrast--Restatement |
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The Bridge; Rounded Binary versus Ternary Form |
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452 | (8) |
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460 | (1) |
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460 | (1) |
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26 Introduction to Sonata Form |
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461 | (16) |
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The "Linguistics" of Sonata Form |
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461 | (1) |
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Establishment, Departure, and Return |
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462 | (1) |
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Mozart: Eine Kleine Nachtmusik (first movement) |
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The Exposition; Primary Tonality and Theme; Transition; Secondary Tonality and Theme; Closing Section; Development; Retransition; Recapitulation; Coda |
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463 | (11) |
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Summary of Eine Kleine Nachtmusik (first movement) |
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474 | (1) |
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475 | (1) |
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476 | (1) |
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27 Introduction to The Rondo |
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477 | (8) |
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477 | (1) |
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Beethoven: Piano Sonata op. 13 (second movement) |
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The Refrain (A); The First Episode (B); The Second Refrain (A'); The Second Episode (C); The Third Refrain (A"); The Coda; Summary |
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478 | (6) |
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484 | (1) |
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PART NINE MUSIC IN THE TWENTIETH CENTURY AND BEYOND |
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485 | (128) |
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487 | (20) |
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Planing; The Nonfunctional Mm7 Chord; Modality; Modal Cadences |
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487 | (9) |
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New Melodic and Harmonic Structures |
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Pentatonic Scales; Quartal and Quintal Harmonies; Whole-Tone Scale; Other Scales |
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496 | (10) |
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506 | (1) |
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506 | (1) |
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507 | (17) |
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507 | (1) |
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Quartal Harmonies; Polychords; Polytonality; Bimodality/Dual Modality; Pandiatonicism |
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507 | (9) |
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Stravinsky; The Rite of Spring; Bartok; "Boating" (from Mikrokosmos Book V); Analysis |
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516 | (7) |
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523 | (1) |
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523 | (1) |
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30 Atonality and Serialism |
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524 | (31) |
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524 | (1) |
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Tools for Atonal Analysis; Set Analysis; Normal Order; "Best" Normal Order; Prime Form; The Interval-Class Vector; Hints for Analysis; Another Way |
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525 | (14) |
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Serialism: The Twelve-Tone Method |
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Basic Tenets; Aspects of the Row; The Matrix; How to Construct a Matrix; Indexing the Matrix |
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539 | (14) |
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553 | (1) |
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553 | (1) |
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554 | (1) |
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31 Harmonic Principles in Jazz |
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555 | (27) |
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What This Chapter Can't Do; What This Chapter Can Do |
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555 | (1) |
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Review: Basic Seventh Chords; The Extended Seventh Chord; Melodic Implications; Voicing |
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556 | (8) |
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Tonicization; The Turnaround; Tritone Equivalence; The Tritone in the Turnaround; Expanded Tritone Substitution |
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564 | (11) |
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Reading between the Chords |
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575 | (6) |
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581 | (1) |
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581 | (1) |
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582 | (16) |
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582 | (1) |
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Blues Form and Harmonic Practice |
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What is "The Blues?"; The Basic Blues Today; Minor-Key Blues |
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583 | (10) |
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Blue Notes; Blue-Note Scales; Blue-Note Scales in Minor Keys; Blues Variants |
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593 | (4) |
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597 | (1) |
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597 | (1) |
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598 | |
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598 | (1) |
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Form; Words and Rhythm; Syllabic versus Melismatic Text Setting |
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598 | (2) |
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The Harmonic Factor; Song Writing Then and Now |
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600 | (6) |
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Composing a Song Step-by-Step |
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Step 1 Scanning the Text; |
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Step 2 "Rhythmizing" the Text; |
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Step 3 Devising a Harmonic Plan; |
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Step 4 Composing the Melody |
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606 | (6) |
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612 | (1) |
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612 | |
Appendix A Pitch |
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613 | (16) |
Appendix B Rhythm |
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629 | (11) |
Appendix C Basic Lead-Sheet Symbols |
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640 | (2) |
Appendix D Part-Writing Guidelines |
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642 | (2) |
Glossary |
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644 | (22) |
Credits |
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666 | (7) |
Index |
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673 | (8) |
Index of Musical Examples |
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681 | |
Preface |
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vii | |
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1 | (11) |
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12 | (8) |
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3 Basic Harmonic Structures |
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20 | (12) |
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4 Musical Shorthand: Lead Sheets and Figured Bass |
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32 | (11) |
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5 Harmonies of the Major and Minor Scales |
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43 | (12) |
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6 Cadences/Harmonic Rhythm |
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55 | (10) |
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7 Melodic Pitch and Rhythm |
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65 | (14) |
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79 | (17) |
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96 | (17) |
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10 Melodic Principles of Part Writing/The Outer Voice Framework |
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113 | (9) |
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11 The Melodic Factor in Four-Voice Part Writing/Voicing and Connecting Chords |
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122 | (10) |
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12 Part Writing with Root-Position Triads/The Chorale |
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132 | (11) |
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13 Part-Writing with Triads in Inversion |
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143 | (16) |
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14 Part-Writing Seventh Chords |
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159 | (12) |
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171 | (16) |
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187 | (11) |
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198 | (13) |
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18 The Art of Countermelody |
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211 | (18) |
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229 | (12) |
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241 | (16) |
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257 | (14) |
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22 Other Chromatic Harmonies |
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271 | (10) |
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281 | (16) |
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24 Harmonic Extensions and Chromatic Techniques |
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297 | (13) |
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25 Binary and Ternary Forms |
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310 | (17) |
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26 Introduction to Sonata Form |
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327 | (15) |
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27 Introduction to The Rondo |
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342 | (21) |
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363 | (17) |
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380 | (14) |
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30 Atonality and Serialism |
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394 | (14) |
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31 Harmonic Principles in Jazz |
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408 | (14) |
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422 | (12) |
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434 | (7) |
Appendix A Pitch |
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441 | (14) |
Appendix B Rhythm |
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455 | (11) |
Credits |
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466 | |