Musicn Gde Aur Sk 1E V1 w/ CD PA

by Phillips,Joel

• ISBN13: 9780393976649
• ISBN10: 0393976645
• Edition: 1st
• Format: Paperback
• Copyright: 2004-12-22
• Publisher: W. W. Norton & Company

Summary

This two-volume text covers diatonic, chromatic, and contemporary harmony, as well as voice leading, emphasizing practical performance skills by integrating theoretical principles with aural and keyboard skills through coordinated keyboard, sight-singing, dictation, improvisation, and composition exercises. The much-anticipated Musician's Guide series offers a comprehensive four-semester introduction to the skills of complete musicianship, seamlessly integrating theory and analysis, aural training, and performance in one pedagogical program. The Musician's Guide series is divided into two main components, each represented by a core text. While complete enough to be used alone, these dynamic texts are fully coordinated, sharing the same pedagogical approach and structure. Each book relies on a core repertoire of real music that is revisited throughout in a variety of theory- and performance-based contexts. These texts are complemented by a rich collection of learning resources.

Table of Contents

Preface	xi
Part I Building a Musical Vocabulary: Basic Elements of Pitch and Rhythm
Pitch and Pitch Class	2	(24)
Key Concepts	2	(12)
Pitch	2	(2)
Half-and Whole-Step Intervals	4	(2)
Notating Pitch	6	(7)
Performing Scales	13	(1)
Call and Response	14	(1)
Contextual Listening	15	(8)
Melodies for Study	23	(1)
Improvisation	24	(1)
Composition	25	(1)
Beat, Meter, and Rhythm: Simple Meters	26	(25)
Key Concepts	26	(8)
Rhythmic Elements	26	(3)
Notating Rhythm	29	(3)
Performing Rhythm Patterns in Simple Meter	32	(2)
Call and Response	34	(1)
Contextual Listening	35	(12)
Melodies for Study	47	(2)
Improvisation	49	(1)
Individual Improvisation	49	(1)
Group Improvisation	49	(1)
Composition	50	(1)
Rhythmic Composition (Individual)	50	(1)
Team Composition (Group)	50	(1)
Pitch Collections, Scales, and Major Keys	51	(26)
Key Concepts	51	(8)
Tetrachords	51	(2)
Pentachords	53	(1)
Scales	54	(2)
Major Scales as Melody	56	(3)
Pentatonic Scales	59	(1)
Call and Response	59	(2)
Pentachord Patterns	59	(1)
The Four Melodic Models	60	(1)
Contextual Listening	61	(12)
Melodies for Study	73	(2)
Improvisation	75	(1)
Composition	75	(2)
Minor Keys and the Diatonic Modes	77	(29)
Key Concepts	77	(9)
The Sound of Minor	77	(1)
The Upper Tetrachords in Minor Scales	78	(2)
Minor Scales	80	(2)
Diatonic Modes	82	(2)
Minor Scales as Melody	84	(2)
Call and Response	86	(5)
Minor Pentachord Patterns	86	(1)
The Four Melodic Models and Diatonic Modes	87	(4)
Contextual Listening	91	(12)
Melodies for Study	103	(2)
Improvisation	105	(1)
Composition	105	(1)
Beat, Meter, and Rhythm: Compound Meters	106	(18)
Key Concepts	106	(3)
The Sound of Compound Meter	106	(1)
Hearing Compound-Meter Beat Patterns	107	(2)
Call and Response	109	(2)
Contextual Listening	111	(10)
Melodies for Study	121	(2)
Improvisation	123	(1)
Composition	123	(1)
Vocal Composition (Individual)	123	(1)
Team Composition	123	(1)
Pitch Intervals	124	(30)
Key Concepts	124	(10)
Major, Minor, and Perfect Intervals	124	(6)
Augmented and Diminished Intervals	130	(3)
Inversions of Pitch Intervals	133	(1)
Call and Response	134	(3)
Contextual Listening	137	(12)
Melodies for Study	149	(2)
Improvisation	151	(2)
Composition	153	(1)
Triads and Seventh Chords	154	(24)
Key Concepts	154	(5)
Major and Minor Triads	154	(2)
Augmented and Diminished Triads	156	(1)
Seventh Chords	157	(2)
Call and Response	159	(2)
Contextual Listening	161	(10)
Melodies for Study	171	(3)
Improvisation	174	(1)
Composition	175	(3)
Part II Linking Musical Elements in Time
Intervals in Action (Two-Voice Composition)	178	(23)
Key Concepts	178	(5)
Hearing Contrapuntal Lines	178	(2)
Embellishing Triads	180	(2)
Chromatic Solfege Syllables and Scale-Degree Numbers	182	(1)
Call and Response	183	(2)
Contextual Listening	185	(12)
Melodies for Study	197	(2)
Improvisation	199	(1)
Embellished Triads	199	(1)
First-Species Duets	200	(1)
Composition	200	(1)
Melodic and Rhythmic Embellishment in Two-Voice Composition	201	(20)
Key Concepts	201	(5)
Embellishing Seventh Chords	201	(1)
Suspensions	202	(4)
Call and Response	206	(1)
Contextual Listening	207	(10)
Melodies for Study	217	(2)
Improvisation	219	(1)
Embellished Seventh Chords	219	(1)
Species-Counterpoint Duets	219	(1)
Composition	219	(2)
Notation and Scoring	221	(21)
Key Concepts	221	(5)
Performing Music in Keyboard and SATB Styles	221	(3)
Mixing Beat Divisions	224	(2)
Call and Response	226	(1)
Contextual Listening	227	(10)
Melodies for Study	237	(3)
Improvisation	240	(1)
Composition	240	(2)
Voicing Chords in Multiple Parts: Instrumentation	242	(22)
Key Concepts	242	(3)
Transposing Instruments	242	(3)
Call and Response	245	(2)
Contextual Listening	247	(12)
Melodies for Study	259	(2)
Improvisation	261	(1)
Composition	262	(2)
Part III The Phrase Model
The Basic Phrase Model: Tonic and Dominant Voice-Leading	264	(25)
Key Concepts	264	(5)
Hearing V-I and V7-I	264	(3)
Creating Phrases at the Keyboard	267	(2)
Call and Response	269	(2)
Contextual Listening	271	(14)
Melodies for Study	285	(2)
Improvisation	287	(1)
Solo	287	(1)
Duet	287	(1)
Team	287	(1)
Composition	288	(1)
Single-Line Melody	288	(1)
Keyboard-Style Composition	288	(1)
Embellishing Tones	289	(19)
Key Concepts	289	(5)
Prolongation and Melodic Embellishment	289	(2)
Embellishments with Passing and Neighbor Tones	291	(3)
Call and Response	294	(1)
Contextual Listening	295	(10)
Melodies for Study	305	(1)
Improvisation	306	(1)
Embellishing Melodic Outlines	306	(1)
Team Improvisations	307	(1)
Composition	307	(1)
Chorale Harmonization and Figured Bass	308	(21)
Key Concepts	308	(4)
Figured Bass	308	(2)
Creating Phrases at the Keyboard	310	(2)
Call and Response	312	(1)
Contextual Listening	313	(12)
Melodies for Study	325	(2)
Improvisation	327	(1)
Solo	327	(1)
Duet	328	(1)
Composition	328	(1)
Figured-Bass Compositions	328	(1)
Expanding the Basic Phrase: Leading-Tone, Cadential 6/4, and Passing Chords	329	(25)
Key Concepts	329	(9)
Dominant-Function Chord Substitutions	329	(3)
Expanding V Using a Cadential 6/4 Chord	332	(1)
Associating Bass Lines with Common Tonic Expansions	333	(2)
Creating Phrases with Dominant-Function Chords	335	(3)
Call and Response	338	(1)
Contextual Listening	339	(12)
Melodies for Study	351	(1)
Improvisation	352	(1)
Conclusive Phrases	352	(1)
Inconclusive Phrases	353	(1)
Composition	353	(1)
Composing a Two-Phrase Piece	353	(1)
Transcription	353	(1)
Further Expansions of the Basic Phrase: Predominants, 6/4 Chords, and Other Diatonic Chords	354	(27)
Key Concepts	354	(9)
Predominant-Function Chords	354	(5)
Prolonging the Tonic with Predominant Chords	359	(3)
Creating Phrases with Predominant Chords	362	(1)
Call and Response	363	(2)
Contextual Listening	365	(12)
Melodies for Study	377	(2)
Improvisation	379	(1)
Composition	380	(1)
A Two-Phrase Choral Piece	380	(1)
The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody	381	(26)
Key Concepts	381	(10)
New Cadence Types	381	(4)
Phrase Structure and Organization	385	(4)
Creating Phrases with Phrygian, Deceptive, and Plagal Cadences	389	(2)
Call and Response	391	(2)
Contextual Listening	393	(10)
Melodies for Study	403	(2)
Improvisation	405	(1)
Consequent Phrase	405	(1)
Team Improvisations	405	(1)
Composition	406	(1)
Single-Line Melody	406	(1)
Keyboard-Style Composition	406	(1)
Diatonic Sequences	407	(32)
Key Concepts	407	(10)
Sequences and Linear Intervallic Patterns	407	(5)
Creating Phrases Based on Sequences and LIPs	412	(5)
Call and Response	417	(2)
Contextual Listening	419	(16)
Melodies for Study	435	(2)
Improvisation	437	(1)
Composition	438	(1)
Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords	439	(25)
Key Concepts	439	(6)
Secondary-Dominant-Function Chords	439	(4)
Creating Phrases with V7/V and vii7/V	443	(2)
Call and Response	445	(2)
Contextual Listening	447	(14)
Melodies for Study	461	(1)
Improvisation	462	(1)
Accompanied Duets	462	(1)
Composition	463	(1)
Phrase Rhythm and Motivic Analysis	464
Key Concepts	464	(10)
Motivic Development	464	(5)
More About Phrases	469	(5)
Call and Response	474	(1)
Contextual Listening	475	(14)
Melodies for Study	489	(2)
Improvisation	491	(1)
Consequent Phrases with Phrase Expansions	491	(1)
Composition	491
Single-Line Melody	491	(1)
Keyboard Composition	492
Appendixes	1	(2)
Glossary	3	(18)
Ranges of Orchestral Instruments	21	(4)
Credits	25	(2)
Index of Music Examples	27	(2)
Index of Terms and Concepts	29