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Fundamentals | |
Elements of Pitch | |
The Keyboard and Octave Registers | |
Notation of the Staff | |
The Major Scale | |
The Major Key Signatures | |
Minor Scale | |
Minor Key Signatures | |
Scale Degree Names | |
Intervals | |
Perfect, Major, and Minor Intervals | |
Augmented and Diminished Intervals | |
Inversion of Intervals | |
Consonant and Dissonant Intervals | |
Summary | |
Variations | |
Elements of Rhythm | |
Rhythm | |
Durational Symbols | |
Beat and Tempo | |
Meter | |
Division of the Beat | |
Simple Time Signatures | |
Compound Time Signatures | |
Time Signatures Summarized | |
More on Durational Symbols | |
Summary | |
Variations | |
Introduction to Triads and Seventh Chords | |
Introduction | |
Triads | |
Seventh Chords | |
Inversions of Chords | |
Inversion Symbols and Figured Bass | |
Lead Sheet Symbols | |
Recognizing Chords in Various Textures | |
Summary | |
Variations | |
Diatonic Chords in Major and Minor Keys | |
Introduction | |
Diatonic Triads in Major | |
The Minor Scale | |
Diatonic Triads in Minor | |
Diatonic Seventh Chords in Major | |
Diatonic Seventh Chords in Minor | |
Summary | |
Variations | |
Diatonic Triads | |
Principles of Voice Leading | |
Introduction | |
The Melodic Line | |
Notating Chords | |
Voicing a Singe Triad | |
Parallel Motion | |
Summary | |
Variations | |
Root Position Part Writing | |
Introduction | |
Root Position Part Writing with Repeated Roots | |
Root Position Part Writing with Roots a 4th (5th) Apart | |
Root Position Part Writing with Roots a 3rd (6th) Apart | |
Root Position Part Writing with Roots a 2nd (7th) Apart | |
Instrumental Ranges and Transpositions | |
Summary | |
Harmonic Progression | |
Introduction | |
Sequences and the Circle of Fifths | |
The I and V Chords | |
The II Chord | |
The VI Chord | |
The III Chord | |
The VII Chord | |
The IV Chord | |
Common Exceptions | |
Differences in the Minor Mode | |
Progressions Involving Seventh Chords | |
More About Harmonic Sequences | |
Harmonizing a Simple Melody | |
Conclusion | |
Summary | |
Triads in First Inversion | |
Introduction | |
Bass Arpeggiation | |
Substituted First Inversion Triads | |
Inversions in Lead Sheets | |
Parallel Sixth Chords | |
Part Writing First Inversion Triads | |
Soprano-Bass Counterpoint | |
Summary | |
Variations | |
Triads in Second Inversion | |
Introduction | |
Bass Arpeggiation and the Melodic Bass | |
The Cadential Six-Four | |
The Passing Six-Four | |
The Pedal Six-Four | |
Part Writing for Second Inversion Triads | |
Summary | |
Cadences, Phrases, Periods, and Sentences | |
Musical Form | |
Cadences | |
Cadences and Harmonic Rhythm | |
Motives and Phrases | |
Mozart: "An die Freude" | |
Period Forms | |
The Sentence | |
Summary | |
Non Chord Tones 1 | |
Introduction | |
Classification of Non-Chord Tones | |
Passing Tones | |
Neighboring Tones | |
Suspensions and Retardations | |
Embellishing a Simple Texture | |
Figured Bass and Lead Sheet Symbols | |
Summary | |
Non-Chord Tones 2 | |
Appoggiaturas | |
Escape Tones | |
The Neighbor Group | |
Anticipations | |
The Pedal Point | |
Special Problems in the Analysis of Non-Chord Tones | |
Summary | |
Variations | |
Diatonic Seventh Chords | |
The V7 Chord | |
Introduction | |
General Voice-Leading Considerations | |
The Approach to the 7th | |
The V7 in Root Position | |
The V7 in Three Parts | |
Other Resolutions of the V7 | |
The Inverted V7 Chord | |
The V6/5 Chord | |
The V4/3 Chord | |
The V4/2 Chord | |
Summary | |
The II7 and VII7 Chords | |
Introduction | |
The II7 Chord | |
The VII7 Chord in Major | |
The VII7 Chord in Minor | |
Summary | |
Other Diatonic Seventh Chords | |
The IV7 Chord | |
The VI7 Chord | |
The I7 Chord | |
The III7 Chord | |
Seventh Chords and the Circle-of -Fifths Progression | |
Summary | |
Chromaticism 1 | |
Secondary Functions 1 | |
Chromaticism and Altered Chords | |
Secondary Functions and Tonicization | |
Secondary Dominant Chords | |
Spelling Secondary Dominants | |
Recognizing Secondary Dominants | |
Secondary Dominants in Context | |
Summary | |
Variations | |
Secondary Functions 2 | |
Secondary Leading-Tone Chords | |
Spelling Secondary Leading-Tone Chords | |
Recognizing Secondary Leading-Tone Chords | |
Secondary Leading-Tone Chords in Context | |
Sequences Involving Secondary Functions | |
Deceptive Resolutions of Secondary Functions | |
Other Secondary Functions | |
Summary | |
Modulations Using Diatonic Common Chords | |
Modulation and Change of Key | |
Modulation and Tonicization | |
Key Relationships | |
Common-Chord Modulation | |
Analyzing Common-Chord Modulation | |
Summary | |
Some Other Modulatory Techniques | |
Altered Chords as Common Chords | |
Sequential Modulation | |
Modulation by Common Tone | |
Monophonic Modulation | |
Direct Modulation | |
Summary | |
Binary and Ternary Forms | |
Formal Terminology | |
Binary Forms | |
Ternary Forms | |
Rounded Binary Forms | |
12-Bar Blues | |
Other Forms with a Ternary Design | |
Sonata Form | |
Rondo Form | |
Summary | |
Variations | |
Chromaticism 2 | |
Mode Mixture and the Neapolitan | |
Introduction | |
Borrowed Chords in Minor | |
Borrowed Chords in Major | |
The Use of B-Flat 6 | |
Other Borrowed Chords in Major | |
Modulations Involving Mode Mixture and the Neapolitan | |
Summary | |
Variations | |
Augmented Sixth Chords | |
The Interval of the Augmented Sixth | |
The Italian Augmented Sixth Chord | |
The French Augmented Sixth Chord | |
The German Augmented Sixth Chord | |
Other Uses of the Conventional Augmented Sixth Chords | |
Other Bass Positions | |
Summary | |
Variations | |
Enharmonic Spellings and Enharmonic Modulations | |
Enharmonic Spellings | |
Enharmonic Reinterpretation | |
Enharmonic Modulations Using the Major-Minor Seventh Sonority | |
Enharmonic Modulations Using the Diminished Seventh Chord | |
Other Examples of Enharmonicism | |
Summary | |
Variations | |
Further Elements of the Harmonic Vocabulary | |
Introduction | |
The Dominant with a Substituted 6th | |
The Dominant with a Raised 5th | |
Ninth, Eleventh, and Thirteenth Chords | |
The Common-Tone Diminished Seventh Chord | |
Simultaneities | |
Coloristic Chord Progressions | |
Summary | |
Tonal Harmony in the Late Nineteenth Century | |
Introduction | |
More About Mediants | |
Mediant Chains and Other Combinations | |
Counterpoint and Voice Leading | |
Sequences and Other Systematic Procedures | |
Summary | |
An Introduction to Twentieth-Century Music | |
Materials and Techniques | |
Introduction | |
Impressionism | |
Scale Materials | |
The Diatonic Modes | |
Pentatonic Scales | |
Synthetic Scales | |
Chord Structure | |
Extended Tertian Harmony | |
Polyharmony | |
Chord/Scale Connections | |
Quartal and Secundal Harmony | |
Other Concepts | |
Parallelism | |
Pandiatonicism | |
Rhythm and Meter | |
Summary | |
Post-Tonal Theory | |
Introduction | |
Basic Atonal Theory | |
Normal Form | |
Equivalence Relations and Mod 12 | |
Transposition (Tn) and Inversion (TnI) | |
Set Class and Prime Form | |
Interval Vector | |
Twelve-Tone Serialism | |
Integral Serialism | |
Summary | |
New Directions | |
Introduction | |
Explorations of Texture, Timbre, and Tuning | |
Indeterminacy | |
Minimalism | |
Electronic and Computer Music | |
Summary and Forward Look | |
Instrumental Ranges and Transpositions | |
Lead-Sheet Symbols | |
Set Class List | |
Answers to Self-Tests | |
Index of Music Examples | |
Subject Index | |
Index of Music Examples | |
Name Index | |
Subject Index | |
Table of Contents provided by Publisher. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.