Tonality and Design in Music Theory, Volume I

by Henry, D. J.; Rogers, Michael, Retired

• ISBN13: 9780130811288
• ISBN10: 0130811289
• Edition: 1st
• Format: Spiral Bound
• Copyright: 2004-09-27
• Publisher: Pearson

Summary

This book emphasizes Western musical art, with ample material on the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources.Following the well-established tradition of comprehensive musicianship, this book presents lessons and assignments not only in basic tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, written essays, and a survey of 20th and 21st century music.For music enthusiasts interested in understanding the development of music.

Table of Contents

Preface	ix
Using the Text	x
UNIT 1 REVIEW OF FUNDAMENTALS	1	(114)
Fundamentals of Pitch and Rhythm	5	(34)
The Notation of Pitch	5	(8)
The Clef	5	(2)
The Octave	7	(2)
Octave Designations	9	(1)
The Keyboard	9	(1)
Accidentals	10	(1)
Enharmonic Equivalents	10	(3)
The Notation of Rhythm and Meter	13	(11)
Traditional Note Symbols	13	(3)
Meter	16	(4)
Beat Division	20	(2)
Meter Signatures	22	(2)
Additional Rhythmic Resources	24	(13)
Beat Subdivision	25	(1)
Borrowed Division	25	(3)
Irregular Groups	28	(1)
Asymmetrical and Mixed Meters	29	(2)
Musical Accent	31	(1)
Syncopation	32	(5)
Projects	37	(2)
Scales and Intervals	39	(38)
Major Scales	40	(9)
Diatonic and Chromatic	42	(1)
Mode	43	(1)
Transposed Major Scales	44	(1)
Key Signatures	44	(3)
Major Keys	47	(2)
Intervals	49	(10)
Interval Type	50	(1)
Interval Quality	51	(3)
Constructing Intervals Below a Given Pitch	54	(1)
Consonance and Dissonance	55	(4)
Minor Scales	59	(9)
Variations in the Minor Scale	60	(2)
Relationships in Major and Minor	62	(6)
Other Modes and Scales	68	(7)
The Church Modes	68	(2)
Pentatonic Scale	70	(1)
Other Scales	71	(4)
Projects	75	(2)
Diatonic Triads and Chords	77	(38)
Triads	78	(9)
Triad Quality	79	(1)
Inverted Triads	80	(1)
Triad Construction and Identification	81	(2)
Triad Construction	83	(4)
Diatonic Triads in Major	87	(7)
Constructing Diatonic Triads	87	(2)
Identifying Diatonic Triads	89	(1)
Analytic Symbols	89	(5)
Diatonic Triads in Minor	94	(3)
The Dominant Seventh Chord	97	(5)
The Root-Position Dominant Seventh	97	(1)
Inverted Dominant Sevenths	98	(1)
Constructing Dominant Seventh Chords	98	(4)
Four-Part Format	102	(9)
Spacing in Four Voices	102	(1)
Doubling in Major and Minor Triads	103	(2)
Constructing Triads in Four Parts	105	(1)
Dominant Seventh Chords in Four Parts	105	(2)
Identifying Diatonic Chords in Four Parts	107	(4)
Projects	111	(4)
UNIT 2 INTRODUCTION TO TONAL PRINCIPLES	115	(82)
Melodic Structure	119	(38)
Pitch Centricity	119	(11)
Tendency Tones	121	(4)
Melodic Goals	125	(1)
Melodic Cadences	125	(5)
Motivic Construction	130	(11)
Motives	131	(2)
Motivic Phrases	133	(1)
Sequence	134	(7)
Melodic Style	141	(3)
Melodic Motion	141	(1)
Range and Tessitura	142	(1)
Contour	143	(1)
Linear Analysis	144	(9)
Melodic Reduction	145	(4)
Prolongation	149	(1)
Arpeggiation	149	(1)
Step Progression	150	(3)
Projects	153	(4)
Harmonic Function	157	(40)
Texture	158	(8)
Polyphony	158	(8)
Tonal Harmony	166	(5)
Major and Minor	166	(1)
Root Movement	167	(4)
Cadences	171	(12)
Authentic Cadence	171	(4)
Plagal Cadence	175	(1)
Half Cadence	176	(2)
Deceptive Cadence	178	(5)
Harmonic Function	183	(5)
Tonal Context	183	(1)
Functional Roles	184	(4)
Harmonic Rhythm	188	(5)
Projects	193	(4)
UNIT 3 FOUNDATIONS OF TONAL HARMONY	197	(112)
Dissonance	201	(36)
Consonance and Dissonance in Tonal Music	201	(1)
Melodic Dissonance	202	(1)
Resolution by Step	203	(13)
Neighboring and Passing Tones	204	(2)
The Appoggiatura	206	(1)
The Suspension	207	(9)
Oblique Resolution	216	(8)
The Anticipation	216	(2)
Pedal Point	218	(1)
Resolution by Leap	219	(1)
Escape Tone	219	(1)
The Free Tone	220	(4)
Introduction to Harmonic Dissonance: Dominant Seventh Chord	224	(9)
Preparation and Resolution	225	(8)
Projects	233	(4)
The Soprano-Bass Framework	237	(32)
Punctus Contra Punctum	237	(1)
Importance of Soprano-Bass Framework	238	(2)
Maintaining Tonality and Style	240	(11)
Voice Independence	251	(14)
Composing the Bass	259	(6)
Projects	265	(4)
Voice Leading	269	(40)
Contrapuntal Motion	269	(4)
Contrapuntal Motion in the Four-Voice Style	270	(3)
Melodic Style	273	(3)
Guidelines for Chord Connection	276	(7)
Six-Four Chords	283	(10)
Cadential Six-four	284	(2)
The Passing Six-four	286	(3)
The Neighboring Six-four	289	(1)
The Arpeggiated Six-Four	289	(4)
Nondominant Seventh Chords	293	(3)
Diatonic Seventh Chords as Fundamental Materials	294	(2)
Voice Leading in Seventh Chords	296	(8)
The Supertonic Seventh	296	(2)
The Leading-Tone Seventh	298	(2)
Other Diatonic Seventh Chords	300	(4)
Projects	304	(5)
UNIT 4 SYMMETRY AND EMBELLISHMENT	309	(90)
Melody Forms	315	(42)
Periodic Design	315	(15)
Parallel Period	316	(4)
Variation	320	(2)
Contrasting Period	322	(5)
Phrase Group	327	(3)
The Double Period	330	(6)
Sectional Double Period	332	(4)
Alternate Melody Forms	336	(4)
Phrase Structure	337	(1)
Asymmetrical Period and Phrase-Group Structure	337	(2)
Less Common Double-Period Structure	339	(1)
Shaping Complete Musical Works	340	(12)
Bar Form	340	(1)
Verse and Refrain	341	(4)
Strophic Design	345	(1)
Through Composition	346	(6)
Projects	352	(5)
Secondary Function	357	(42)
Secondary Function	358	(11)
Tonicization	359	(2)
Secondary Dominants and Tonics	361	(2)
Analyzing Secondary Dominants	363	(2)
Constructing Secondary-Dominant Progressions	365	(4)
Function in Chromatic Progressions	369	(15)
Tonicization with New Leading Tone	370	(4)
Tonicization with the Fourth Scale Degree	374	(4)
Extended Tonicization	378	(2)
Constructing Secondary Progressions with Subdominant and Submediant	380	(4)
Secondary Leading-Tone Chords	384	(8)
Ornamented and Atypical Resolutions	387	(1)
Voice Leading in Secondary Progressions	388	(4)
Projects	392	(7)
UNIT 5 MUSICAL SHAPE AND GROWTH	399	(78)
Modulation	403	(36)
Modulation	403	(8)
Modulation and Tonicization	405	(2)
Closely Related and Distant Keys	407	(4)
Common-Chord Modulation	411	(11)
Modal Shift	415	(2)
Planning Common-Chord Modulations	417	(5)
Chromatic Modulation	422	(4)
Descending Chromatic Line	425	(1)
Phrase Modulation	426	(7)
Projects	433	(6)
Binary and Ternary Designs	439	(38)
The Classical Style	439	(1)
Formal Principles	440	(1)
The Binary Principle	440	(12)
Simple binary	440	(1)
Baroque Binary	441	(5)
Rounded Binary	446	(6)
The Ternary Principle	452	(18)
Simple Ternary	453	(4)
Da Capo Aria Form	457	(5)
Compound Ternary Form	462	(3)
Two- and Three-part Forms	465	(5)
Projects	470	(7)
Appendix A Ranges and Instrumentation	477	(8)
Orchestral and Band Instruments	478	(5)
Instrument Ranges	483	(2)
Appendix B Popular Music Chord Symbols	485	(4)
Credits	489	(2)
Indexes	491

Excerpts

Music Theory is the study of how and why music works. This suggests that understanding the subject consists of something more than data bits, definitions, or a body of prescribed knowledge. While this set of textbooks offers plenty of instruction about names, labels, and an appropriate vocabulary for effective communication among musicians, we have designed the series to offer a good deal more. Without being dangerously speculative, we have tried to propose, where possible, thereasonswhich lie behind principles and procedures of aesthetically stimulating musical constructions--that is, an explanation for just how the rules came about and how they have influenced changing musical styles.We have also approached theoretical study from the listener's perspective, so that our discussions and analyses refer not only to the printed notation of scores, but also to the reactions of educated audiences to the individual sounds and larger patterns of music. By alluding frequently to the aesthetic involvement of music and the psychological manipulation of master composers, for example, we have endeavored to enrich cognitive and perceptual experiences; these are simultaneously the byproducts of informed listening and the foundation of performing, composing, and teaching music.Presented in proper manner and spirit, these books can enable theory teachers to not only foster intellectual development and aural growth for their students, but also to advance beyond that stage into the ambitious realms of changing opinions and attitudes, reworking beliefs and habits, judging sides of a controversy, and refining a set of values. Students may come to develop a sense of wonder about the mysteries and forces of music itself. In other words, training in music theory can support learning how to think and learning how to respond--the twin sides of a true musical education.We draw from the well-established tradition of Comprehensive Musicianship in choosing and organizing topics for these books. Lessons and assignments are presented not only in basis tonal harmony, but also in fundamentals, concepts of melody, counterpoint, form, analysis, composition, writing essays, and various aspects of contemporary music--all within a stylistic and historical context. Although our emphasis is on Western musical art, text material is amplified by the music of both men and women, differing styles, various cultures, and examples drawn from popular and ethnic sources. Distinctive features as well as commonalities and universals are identified in comparing works.The methodology ofTonality and Design in Music Theoryis intentionally eclectic. We present a wide variety of analytic techniques, including both traditional approaches (harmony and form, for example) and also a generous representation of linear analysis. We introduced the latter topic without any formal or restrictive adherence to Schenkerian principles because we feel that these topics are a worthy subject for advanced study in their own right, but only after a beginning groundwork has been established. Our book will not, for example, teach students to draw elaborate graphs. Instead, it will enable them to not only appreciate the long-range attractions and links that pitches have for one another, but also to understand and create graphic representations of these relationships in a variety of ways. Single-line melodic study is covered along with selective representations of structural reductions (as simplified notation) in both harmonic and contrapuntal settings in order to clarify the skeleton and scaffolding of music. These reductions permit distinctions to be made between events that give meaning and those that take meaning.One of the most challenging aspects of writing the actual words, sentences, and paragraphs for an introductory theory course is to establish an appropriate tone, style, and level of readability for students of varying