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Theory for Today's Musician, Second Edition (Textbook and Workbook Package) 2nd New edition [Multiple-component retail product]

(University of Akron, USA), (University of Akron, USA)
  • Formaat: Multiple-component retail product, 1200 pages, kaal: 3152 g, 1625 Line drawings, black and white, Contains 1 Hardback and 1 Paperback / softback
  • Ilmumisaeg: 27-Dec-2013
  • Kirjastus: Routledge
  • ISBN-10: 0415730368
  • ISBN-13: 9780415730365
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  • Multiple-component retail product
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  • Formaat: Multiple-component retail product, 1200 pages, kaal: 3152 g, 1625 Line drawings, black and white, Contains 1 Hardback and 1 Paperback / softback
  • Ilmumisaeg: 27-Dec-2013
  • Kirjastus: Routledge
  • ISBN-10: 0415730368
  • ISBN-13: 9780415730365
Teised raamatud teemal:
The package (ISBN 978-0-415-73036-5) contains the second edition of Theory for Todays Musician (ISBN: 978-0-415-66332-8) and the Theory for Todays Musician Workbook (ISBN: 978-0-415-66333-5). The package is available for print books only.



Theory for Todays Musician, Second Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to todays music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers.



This broadly comprehensive text merges traditional topics such as part-writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. Written by an experienced textbook author and new co-author, both active classroom teachers for many years, Theory for Todays Musician is the complete and ideal theory text to enable todays student to accomplish their musical goals tomorrow.



New Features to the Second Edition:



An expanded unit on form that includes introductory chapters on sonata & rondo, to prepare students for learning form



New "Back to Basics" online drills, keyed to the text, allowing students to brush up their fundamentals as needed



New musical examples, including over 80 new musical excerpts from both art and popular music repertoires



Expanded in-chapter exercises to promote and facilitate classroom interaction





Carefully edited in response to market demands to create a more streamlined, flexible text



New audio of musical examples (for both text and workbook), 50% re-recorded for improved audio quality



An updated and relocated Chapter 33 on song composition in the jazz and popular folk styles, applying principles of text setting, melody composition/harmonization



Companion website that houses online tutorial with drills of basic concepts

Arvustused

The second edition of Theory for Todays Musician is indeed apropos for todays music student, and is an improvement on an already well-designed theory text. The book offers a logical and thorough presentation of music theory concepts, leaving no stone unturned. One if its greatest attributes, musical examples are drawn not only from the standard classical repertoire, but from musical theater, popular music, traditional tunes, and jazz, so the book is relevant for any musician, regardless of specialization. --Eric Alexander, University of Northern Colorado















Theory for Todays Musician by Ralph Turek is a clearly-written, easy-to-follow textbook for students. The authors use of creative analogies and musical examples taken from a variety of genres and styles, combined with a bit of humor, will undoubtedly help students connect with a subject that too often seems distant and difficult to them.



--Vicki Curry, James Madison University









I have found that this textbook helps students understand important musical concepts by making connections between classical, jazz, and popular music. The authors use familiar sounds to help the students grasp traditional principles. This textbook has been especially helpful for our music education majors who must pass a state-wide standardized exam that includes jazz and popular music. The integration of lead sheet symbols with traditional figured bass symbols has given our students the skills they need to succeed in today's musical environment.



-Randy Earles, Idaho State University















Theory for Todays Musicians carefully considered musical examples, drawn proportionately from "classical" and popular genres, clearly demonstrates the theoretical concepts students struggle to understand. Tureks entertaining writing encourages even the most reluctant student to read the text. The text encourages students to think creatively and actively. As a result, students learn to use their ears and then understand the "rules" of music theory. This should be the standard among theory textbooks.



--David Hanan, University of Central Oklahoma



This updated edition of Theory for Todays Musician will be popular with both students and teachers. The writing style is clear and direct, the musical examples are selected from standard "classical" repertoire as well as popular tunes, and the student exercises are varied, creative, and well thought out. The chapters on song writing and jazz will help to create a well-rounded student with a solid foundation in music theory. The Turek text will be a great addition to the theory classroom.



--Leslie Odom, University of Florida



Ralph Turek hones Theory for Todays Musician for the 21st-century student by using straightforward and concise writing, new and clear examples from classics to jazz and beyond, combined with abundant drills and exercises for student mastery throughout the text and the workbook.



--Elaine Rendler, George Mason University















Theory for Todays Musicians engaging writing style sparks the imagination and curiosity of students and encourages them to read on their own. It approaches music theory in such a way that the concepts and terminology covered may be applied equally well across a wide range of musical styles, and its well-placed examples demonstrate over and over again how useful these concepts can be to understanding and performing music, regardless of whether that music is by Bach, Beethoven, Bartók, or Brubeck.



--Matt Santa, Texas Tech University

Preface xix
Visual Tour xxviii
Acknowledgments xxxi
PART ONE IN LIEU OF FUNDAMENTALS
1(32)
1 Assorted Preliminaries
5(15)
Matters of Pitch
The Staff and Its Clefs; Solmization; The Hexachord System; Accidentals
5(3)
Modes, Scales, and Evolution
Church Modes; Musica Ficta
8(3)
Metric Matters
Meter; The Dot; Early Meter Signatures; Hypermeter
11(4)
Sound
Overtones; The Legend of Pythagoras; Equal Temperament
15(3)
Coda
18(1)
Do You Know These Terms?
19(1)
2 Intervals
20(13)
Perspective: Five Ways to Express an Octave
20(1)
White-Key Intervals
21(4)
Intervals of the Major Scale
25(2)
Related Matters
Inversion; Enharmonic Intervals; Simple versus Compound; Diatonic versus Chromatic; Consonance versus Dissonance
27(4)
Coda
31(1)
Do You Know These Terms?
32(1)
PART TWO DIATONIC HARMONY
33(64)
3 Basic Harmonic Structures
35(13)
Triads
Harmony and Chord; Basic Triads; Stability and Color
35(4)
Chord Inversion
Inversion and Bass Line; Determining Chord Inversion
39(3)
Seventh Chords
Classification of Seventh Chords; Inverted Seventh Chords
42(5)
Coda
47(1)
Do You Know These Terms?
47(1)
4 Musical Shorthand: Lead Sheets and Figured Bass
48(13)
Lead-Sheet Notation
Lead-Sheet Chord Symbols; Expanded Symbols; Passing Tones
48(4)
More on Chord Inversion: The Numbers Game
52(2)
Figured Bass Notation
Realizing a Figured Bass
54(6)
Coda
60(1)
Do You Know These Terms?
60(1)
5 Harmonies of the Major and Minor Scales
61(19)
The Diatonic Chords
Diatonic Triads in Major Keys; Roman Numeral Symbols; The Primary Triads; Diatonic Triads in Minor Keys; Showing Inversion; The Diatonic Seventh Chords
61(7)
Functional Tonality
Chord Function; The Circle of Fifths; Progression, Retrogression, and Repetition; The Ground Bass
68(11)
Coda
The Common Practice Period
79(1)
Do You Know These Terms?
79(1)
6 Cadences/Harmonic Rhythm
80(17)
Cadences
Cadences and Style; Standard Cadences; Cadential Variants; Summary of Standard Cadences
80(11)
Harmonic Rhythm
91(5)
Coda
96(1)
Do You Know These Terms?
96(1)
PART THREE MELODY
97(68)
7 Melodic Pitch and Rhythm
99(21)
Range, Interval Structure, and Gesture
Range; Interval Structure; Gesture
99(6)
Repetition
Motive; Sequence; Types of Sequences
105(7)
Melodic Tonality
Scales and Arpeggios; Large-Scale Events; Melodic Tonality; Recognizing Important Pitches; Tonic-Dominant Axis
112(7)
Coda
119(1)
Do You Know These Terms?
119(1)
8 Embellishing Tones
120(20)
The Standard Voices
122(1)
Step--Step Combinations
Passing Tones; Neighbor Tones
122(3)
Step--Leap Combinations
Appoggiatura; Escape Tone; Double Neighbors
125(2)
Step--Repetition Combinations
Anticipation; Suspension and Retardation; Other Ways to Designate Suspensions
127(5)
Embellishing Tones and Style
Multiple Embellishing Tones; Embellishing Tones in Jazz; Embellishing Tones as Motives; The Embellishing Chord Tone
132(7)
Coda
139(1)
Do You Know These Terms?
139(1)
9 Melodic Form
140(25)
The Phrase
What is a Phrase? Phrase Length; Phrases and Cadences; The Musical Sentence; Phrase Relationships
140(8)
Combining and Extending Phrases
The Period; Parallel Period; Contrasting Period; Phrase Group; Double Period; Cadential Elision; Cadential Extension
148(15)
Coda
163(1)
Do You Know These Terms?
164(1)
PART FOUR VOICE LEADING
165(78)
10 Melodic Principles of Part Writing/The Outer-Voice Framework
167(11)
Melodic Principles
Interval Motion; Sensitive Tones; Types of Motion Between Voices
167(2)
Creating an Outer-Voice Framework
1:1 Counterpoint; 2:1 Counterpoint
169(8)
Coda
177(1)
Do You Know These Terms?
177(1)
11 The Melodic Factor in Four-Voice Part Writing/Voicing and Connecting Chords
178(15)
Perspective: Why Four Parts?
178(1)
Review of Melodic Principles
179(2)
Voicing Chords
Spacing; Doubling; Alternative Doubling
181(3)
Connecting Chords
Consecutive Perfect Fifths and Octaves; Voice Crossing and Overlap; Common Tones
184(7)
Coda
191(1)
Do You Know These Terms?
192(1)
12 Part Writing with Root-Position Triads/The Chorale
193(13)
Part Writing
193(1)
The Chorale
Melodic Features
194(1)
Part Writing with Root-Position Triads
Fifth Relationship/Part Writing the AC, PC, and HC; Third Relationship; Second Relationship; Warning! Part-writing Hazard!; Part Writing the Deceptive Cadence
194(8)
Part Writing Suspensions
Doubling in Suspensions
202(3)
Coda
205(1)
Do You Know These Terms?
205(1)
13 Part Writing with Triads in Inversion
206(19)
Perspective
206(1)
First Inversion
Inversion and Bass Line; Doubling in First Inversion; Why Not the Other Tone?; Chord Connection; Inversion and Harmonic Weight; Suspensions and First Inversion
207(8)
Second Inversion
Cadential Six-Four Chord; Passing Six-Four Chord; Pedal Six-Four Chord; Arpeggiated Six-Four Chord; Six-Four Chord Variants
215(8)
Coda
223(1)
Do You Know These Terms?
224(1)
14 Part Writing Seventh Chords
225(18)
Perspective
225(1)
Seventh Chords of Dominant Function
The V7; Chord Member or Not?; The Unresolved Leading Tone; The Unresolved Seventh; Delayed Resolution; The Leading-Tone Seventh Chord
226(6)
Nondominant Seventh Chords
Where Judgement Enters; Seventh Chords and Chain Suspensions; The 17; Voice-Leading Summary
232(9)
Coda
241(1)
Do You Know These Terms?
241(2)
PART FIVE BASIC CHROMATIC HARMONY
243(52)
15 Secondary Function I
245(18)
Secondary Dominants
The V/x; Tonicization; The Tonicizing Tritone; The V7/x
245(7)
Secondary Leading-Tone Chords
vii0/X; vii0/x, vii07/x, vii07/x
252(3)
Voice Leading
Doubling and Resolution; Secondary Function and Chromatic Lines; Harmonic Sequence and Secondary Function
255(6)
Coda
261(1)
Do You Know These Terms?
262(1)
16 Secondary Function II
263(14)
Preliminary Note
263(1)
Jazz and Popular Styles
V7/X; Expanding (Prolonging) a Tonicization; vii07/x; The Tonicizing TV?
264(9)
Melody Harmonization
273(3)
Coda
276(1)
Do You Know These Terms?
276(1)
17 Modulation I
277(18)
A Preliminary Quiz
277(1)
Modulation by Common Chord
Crossing the "Tonal Border;" Multiple Common Chords; Closely Related Keys
278(8)
Chromatic Modulation
The Rule of Chromatics; Multiple Accidentals; Modulation or Tonicization?
286(7)
Coda
293(1)
Do You Know These Terms?
294(1)
PART SIX COUNTERPOINT
295(40)
18 The Art of Countermelody
297(25)
The Basics of Two-Voice Counterpoint
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
297(11)
J. S. Bach's Chorale Harmonizations
Polyphonic or Homophonic?
308(2)
Bach's Two-Part Inventions
The Bach Inventions; Motive and Countermotive; The Devices of Counterpoint
310(5)
Analysis: Invention No. 6
Invertible Counterpoint; Sequence; Fragmentation; Tonality; Implied Harmony; Form
315(5)
Invention Analysis: A Checklist
320(1)
Coda
320(1)
Do You Know These Terms?
321(1)
19 The Fugue
322(13)
The Basics of Fugue
Subject and Answer; Real and Tonal Answers; The "Prominent Dominant"; The Exposition; Entries and Episodes; The Ending; Summary; Link, Counterexposition, and Coda
322(8)
Analysis: Bach Fugue No. 16 from The Well-Tempered Clavier, Book I
About this Fugue
330(4)
Coda
334(1)
Do You Know These Terms?
334(1)
PART SEVEN ADVANCED CHROMATIC HARMONY
335(100)
20 Mixing Modes
337(23)
Perspective: Adding to the Palette
Vocabulary and Syntax
337(1)
Change of Mode
Mode and Mood; Keys Related through Mode Mixture; Enharmonic Change of Mode
338(4)
Modal Borrowing
Modal Borrowing versus Change of Mode; Common Borrowed Harmonies; Voice Leading; Modal Borrowing And Style
342(9)
Chromatic-third Relationships
Diatonic vs. Chromatic-Third Relationship; The Common Chromatic-Third Relationships; Chromatic Thirds, Mode Mixture, and Tonicization; Voice Leading
351(8)
Coda
359(1)
Do You Know These Terms?
359(1)
21 Altered Predominants
360(18)
Perspective
360(1)
The Neapolitan Sixth Chord
The Neapolitan Chord; The Harmonic Nature of the Neapolitan; Insertions before V
361(6)
Augmented Sixth Chords
The Augmented Sixth; The Augmented Sixth Chord in Three Flavors; Constructing an Augmented Sixth Chord; The Enharmonic German Sixth Chord; Voice Leading
367(10)
Coda
377(1)
Do You Know These Terms?
377(1)
22 Other Chromatic Harmonies
378(14)
Altered Dominants
V; V+7; V-72
378(6)
Embellishing Diminished Seventh Chords
Functional versus Embellishing Diminished Seventh Chords; Spelling and Resolving the Embellishing 07
384(7)
Coda
391(1)
Do You Know These Terms?
391(1)
23 Modulation II
392(22)
Perspective: "In Search of Harmonic Logic"
392(1)
The Three Cs: Recognizing the Signals
Chromatic Pitches; Clue Chords; Cadences; Thinking Tour Way Through a Modulation
393(3)
Back to the Tonal Border
Chromatic Modulations
396(8)
The Secret Lives of Chords
The Enharmonic German Sixth Chord; The Enharmonic Diminished Seventh Chord
404(9)
Coda
413(1)
Do You Know These Terms?
413(1)
24 Harmonic Extensions and Chromatic Techniques
414(21)
Triadic Extensions: Climbing the Overtone Series
The Dominant Ninth Chord; Common Voicings; Inverted Ninth Chords; Secondary Dominant Ninth Chords; Other Ninth Chords; Eleventh Chords; Thirteenth Chords
414(14)
Linear Chromaticism
428(2)
Harmonic Sequence
430(3)
Coda
433(1)
Do You Know These Terms?
433(2)
PART EIGHT FORM
435(50)
25 Binary and Ternary Forms
437(24)
Three Ways of Looking at Form
Motivic Analysis; Similarity and Contrast; Musical Processes
437(7)
Statement and Restatement
444(3)
The Coda
447(2)
Statement and Contrast
Sectional versus Continuous Forms; Symmetric versus Asymmetric Forms
449(3)
Statement--Contrast--Restatement
The Bridge; Rounded Binary versus Ternary Form
452(8)
Coda
460(1)
Do You Know These Terms?
460(1)
26 Introduction to Sonata Form
461(16)
Perspective
The "Linguistics" of Sonata Form
461(1)
A Brief History
Establishment, Departure, and Return
462(1)
Mozart: Eine Kleine Nachtmusik (first movement)
The Exposition; Primary Tonality and Theme; Transition; Secondary Tonality and Theme; Closing Section; Development; Retransition; Recapitulation; Coda
463(11)
Summary of Eine Kleine Nachtmusik (first movement)
474(1)
Coda
475(1)
Do You Know These Terms?
476(1)
27 Introduction to The Rondo
477(8)
Perspective
Refrain and Episode
477(1)
Beethoven: Piano Sonata op. 13 (second movement)
The Refrain (A); The First Episode (B); The Second Refrain (A'); The Second Episode (C); The Third Refrain (A"); The Coda; Summary
478(6)
Do You Know These Terms?
484(1)
PART NINE MUSIC IN THE TWENTIETH CENTURY AND BEYOND
485(128)
28 Syntax and Vocabulary
487(20)
Syntax
Planing; The Nonfunctional Mm7 Chord; Modality; Modal Cadences
487(9)
New Melodic and Harmonic Structures
Pentatonic Scales; Quartal and Quintal Harmonies; Whole-Tone Scale; Other Scales
496(10)
Coda
506(1)
Do You Know These Terms?
506(1)
29 New Tonal Methods
507(17)
Perspective
507(1)
New Tonal Ventures
Quartal Harmonies; Polychords; Polytonality; Bimodality/Dual Modality; Pandiatonicism
507(9)
Stravinsky and Bartok
Stravinsky; The Rite of Spring; Bartok; "Boating" (from Mikrokosmos Book V); Analysis
516(7)
Coda
523(1)
Do You Know These Terms?
523(1)
30 Atonality and Serialism
524(31)
Perspective
524(1)
Atonality
Tools for Atonal Analysis; Set Analysis; Normal Order; "Best" Normal Order; Prime Form; The Interval-Class Vector; Hints for Analysis; Another Way
525(14)
Serialism: The Twelve-Tone Method
Basic Tenets; Aspects of the Row; The Matrix; How to Construct a Matrix; Indexing the Matrix
539(14)
Hints for Analysis
553(1)
Coda
553(1)
Do You Know These Terms?
554(1)
31 Harmonic Principles in Jazz
555(27)
What's the Difference?
What This
Chapter Can't Do; What This
Chapter Can Do
555(1)
Extending the Triad
Review: Basic Seventh Chords; The Extended Seventh Chord; Melodic Implications; Voicing
556(8)
Chord Substitution
Tonicization; The Turnaround; Tritone Equivalence; The Tritone in the Turnaround; Expanded Tritone Substitution
564(11)
Implied Lines
Reading between the Chords
575(6)
Coda
581(1)
Do You Know These Terms?
581(1)
32 The Blues
582(16)
Perspective
582(1)
Blues Form and Harmonic Practice
What is "The Blues?"; The Basic Blues Today; Minor-Key Blues
583(10)
Blues Melodic Practice
Blue Notes; Blue-Note Scales; Blue-Note Scales in Minor Keys; Blues Variants
593(4)
Coda
597(1)
Do You Know These Terms?
597(1)
33 Shaping a Song
598
Perspective
598(1)
Text
Form; Words and Rhythm; Syllabic versus Melismatic Text Setting
598(2)
Melody
The Harmonic Factor; Song Writing Then and Now
600(6)
Composing a Song Step-by-Step
Step 1 Scanning the Text;
Step 2 "Rhythmizing" the Text;
Step 3 Devising a Harmonic Plan;
Step 4 Composing the Melody
606(6)
Coda
612(1)
Do You Know These Terms?
612
Appendix A Pitch 613(16)
Appendix B Rhythm 629(11)
Appendix C Basic Lead-Sheet Symbols 640(2)
Appendix D Part-Writing Guidelines 642(2)
Glossary 644(22)
Credits 666(7)
Index 673(8)
Index of Musical Examples 681
Preface vii
1 Assorted Preliminaries
1(11)
2 Intervals
12(8)
3 Basic Harmonic Structures
20(12)
4 Musical Shorthand: Lead Sheets and Figured Bass
32(11)
5 Harmonies of the Major and Minor Scales
43(12)
6 Cadences/Harmonic Rhythm
55(10)
7 Melodic Pitch and Rhythm
65(14)
8 Embellishing Tones
79(17)
9 Melodic Form
96(17)
10 Melodic Principles of Part Writing/The Outer Voice Framework
113(9)
11 The Melodic Factor in Four-Voice Part Writing/Voicing and Connecting Chords
122(10)
12 Part Writing with Root-Position Triads/The Chorale
132(11)
13 Part-Writing with Triads in Inversion
143(16)
14 Part-Writing Seventh Chords
159(12)
15 Secondary Function I
171(16)
16 Secondary Function II
187(11)
17 Modulation I
198(13)
18 The Art of Countermelody
211(18)
19 The Fugue
229(12)
20 Mixing Modes
241(16)
21 Altered Pre-Dominants
257(14)
22 Other Chromatic Harmonies
271(10)
23 Modulation II
281(16)
24 Harmonic Extensions and Chromatic Techniques
297(13)
25 Binary and Ternary Forms
310(17)
26 Introduction to Sonata Form
327(15)
27 Introduction to The Rondo
342(21)
28 Syntax and Vocabulary
363(17)
29 New Tonal Methods
380(14)
30 Atonality and Serialism
394(14)
31 Harmonic Principles in Jazz
408(14)
32 The Blues
422(12)
33 Shaping a Song
434(7)
Appendix A Pitch 441(14)
Appendix B Rhythm 455(11)
Credits 466