| |
| |
| Preface | |
| |
| |
| A Message to the Student: Why Do We Study Music Theory? | |
| |
| |
| INTRODUCTION: THE FUNDAMENTALS OF MUSIC | |
| |
| |
| Pitch: Notation and Intervals | |
| |
| |
| The notation of pitch | |
| |
| |
| intervals | |
| |
| |
| the overtone series | |
| |
| |
| consonant and dissonant intervals | |
| |
| |
| Rhythm and Meter | |
| |
| |
| Durational symbols | |
| |
| |
| pulse, beat, and meter | |
| |
| |
| tempo | |
| |
| |
| simple and compound meters | |
| |
| |
| the notation of meter | |
| |
| |
| metric accent | |
| |
| |
| choosing a meter to notate a melody | |
| |
| |
| asymmetrical meters | |
| |
| |
| irregular divisions of the beat | |
| |
| |
| irregular rhythmic and metric relationships | |
| |
| |
| some notes on the correct notation of rhythm | |
| |
| |
| Tonality: Scales, Keys, and Transposition | |
| |
| |
| Modes and scales | |
| |
| |
| key signatures | |
| |
| |
| other modes and scales | |
| |
| |
| transposition: related issues | |
| |
| |
| Introduction to Species Counterpoint | |
| |
| |
| The melodic line in species counterpoint | |
| |
| |
| general guidelines for two-part counterpoint | |
| |
| |
| first species | |
| |
| |
| second species | |
| |
| |
| fourth species | |
| |
| |
| The Rudiments of Harmony I: Triads and Seventh Chords | |
| |
| |
| Chords | |
| |
| |
| triads | |
| |
| |
| seventh chords | |
| |
| |
| The Rudiments of Harmony II: Labeling Chords | |
| |
| |
| Harmonic function, Roman numerals | |
| |
| |
| figured bass | |
| |
| |
| Musical Style | |
| |
| |
| The elements of style | |
| |
| |
| the musical style periods | |
| |
| |
| A characteristic Renaissance style: sacred vocal polyphony | |
| |
| |
| the Baroque style | |
| |
| |
| the Classical style | |
| |
| |
| the Romantic style | |
| |
| |
| the twentieth century | |
| |
| |
| conclusions 1: DIATONIC HARMONY | |
| |
| |
| The Connection of Chords | |
| |
| |
| Harmonic progression | |
| |
| |
| notating, voicing, and spacing chords | |
| |
| |
| chord connection: the principles of part writing | |
| |
| |
| melodic style | |
| |
| |
| voice independence | |
| |
| |
| why all these rules? | |
| |
| |
| The Tonic and Dominant Triads in Root Position | |
| |
| |
| The tonic triad | |
| |
| |
| the dominant triad | |
| |
| |
| the I-V-I progression: the principles of prolongation | |
| |
| |
| connecting the tonic and dominant chords | |
| |
| |
| the I-V-I progression as a form-generating structure | |
| |
| |
| Harmonic Function | |
| |
| |
| the Subdominant Triad in Root Position | |
| |
| |
| The basic harmonic functions | |
| |
| |
| the subdominant triad | |
| |
| |
| IV as prolongation of I | |
| |
| |
| elaborating the I-V-I progression | |
| |
| |
| Texture | |
| |
| |
| Triads in First Inversion Texture | |
| |
| |
| the triad in first inversion | |
| |
| |
| the neighbor V6 | |
| |
| |
| elaborating the I-V-I progression | |
| |
| |
| parallel 6/3 chords | |
| |
| |
| harmonizing a melody | |
| |
| |
| Cadences | |
| |
| |
| Authentic cadences | |
| |
| |
| the half cadence | |
| |
| |
| the plagal cadence | |
| |
| |
| the deceptive cadence | |
| |
| |
| cadences :summary and voice leading | |
| |
| |
| Melodic Organization I: Phrase Structure | |
| |
| |
| Motive phrase | |
| |
| |
| period structure | |
| |
| |
| form diagrams | |
| |
| |
| bass reductions | |
| |
| |
| more on period structure | |
| |
| |
| phrase group | |
| |
| |
| the technique of interruption | |
| |
| |
| Melodic Organization II: Thematic Development | |
| |
| |
| Phrase Extension | |
| |
| |
| Formal Functions Melodic developmental techniques | |
| |
| |
| phrase extension | |
| |
| |
| extending period structures | |
| |
| |
| introduction to formal functions | |
| |
| |
| thematic development in developmental sections | |
| |
| |
| Nonchord Tones | |
| |
| |
| The passing tone | |
| |
| |
| the neighbor note | |
| |
| |
| the anticipation | |
| |
| |
| incomplete neighbors | |
| |
| |
| suspensions | |
| |
| |
| pedal point | |
| |
| |
| 6/4 Chords | |
| |
| |
| Consonant 6/4 chords | |
| |
| |
| dissonant 6/4 chords | |
| |
| |
| the neighbor 6/4 | |
| |
| |
| compound melody | |
| |
| |
| the passing 6/4 | |
| |
| |
| the cadential 6/4 | |
| |
| |
| harmonizing melodies with 6/4 chords | |
| |
| |
| pitch patterns | |
| |
| |
| The Supertonic | |
| |
| |
| Metric Reduction | |
| |
| |
| The supertonic in root position | |
| |
| |
| the supertonic in first inversion | |
| |
| |
| the supertonic and the cadential 6/4 | |
| |
| |
| metric reduction | |
| |
| |
| pitch patterns | |
| |
| |
| Harmonic Rhythm | |
| |
| |
| Hypermeter | |
| |
| |
| Harmonic rhythm | |
| |
| |
| hypermeter | |
| |
| |
| harmony, rhythm, and meter: tonal and metric accents | |
| |
| |
| metric-harmonic “rhyme” and conflict | |
| |
| |
| writing your own progressions | |
| |
| |
| harmonizing a melody with keyboard figuration | |
| |
| |
| The Dominant Seventh and Its Inversions | |
| |
| |
| V7 in root position | |
| |
| |
| inversions of the dominant seventh | |
| |
| |
| combining prolongational chords | |
| |
| |
| The Leading-Tone Triad | |
| |
| |
| Doubling and voice leading | |
| |
| |
| the passing viio6 | |
| |
| |
| viio6 as a dominant substitute | |
| |
| |
| the leading-tone cadence | |
| |
| |
| The Mediant, Submediant, and Subtonic Triads | |
| |
| |
| Diatonic Sequences | |
| |
| |
| The mediant and submediant triads | |
| |
| |
| the subtonic | |
| |
| |
| other uses of the mediant and submediant | |
| |
| |
| harmonic sequences | |
| |
| |
| more on the 5-6 technique | |
| |
| |
| pitch patterns | |
| |
| |
| Other Diatonic Seventh Chords | |
| |
| |
| General doubling and voice-leading guidelines | |
| |
| |
| the leading-tone sevenths | |
| |
| |
| the half-diminished seventh | |
| |
| |
| the fully-diminished seventh | |
| |
| |
| the supertonic seventh | |
| |
| |
| the subdominant seventh | |
| |
| |
| the diatonic-seventh circle of 5ths | |
| |
| |
| pitch patterns Appendix to Part 1. Summary and Application: Diatonic Harmony in Context | |
| |
| |
| Diatonic Functions and Performance 2: CHROMATIC HARMONY AND FORM | |
| |
| |
| Secondary Dominants I | |
| |
| |
| Chromatic harmony | |
| |
| |
| tonicization: secondary dominants | |
| |
| |
| V7 of V | |
| |
| |
| V7 of IV (iv) | |
| |
| |
| elaborating a diatonic framework with chromatic harmony | |
| |
| |
| pitch patterns | |
| |
| |
| Secondary Dominants II | |
| |
| |
| V7 of ii | |
| |
| |
| V7 of vi (VI) | |
| |
| |
| V7 of iii (III) | |
| |
| |
| V7 of VII | |
| |
| |
| deceptive resolutions of secondary dominants | |
| |
| |
| consecutive secondary dominants: chromatic sequences | |
| |
| |
| secondary key areas | |
| |
| |
| pitch patterns | |
| |
| |
| Secondary Leading-Tone Chords | |
| |
| |
| Secondary leading-tone seventh chords | |
| |
| |
| secondary viio7 chords in inversion | |
| |
| |
| the viio7 over a pedal point | |
| |
| |
| a chromatic harmonization of a diatonic tune: Bach Chorale 21 | |
| |
| |
| secondary functions in context: two songs by Mozart | |
| |
| |
| pitch patterns | |
| |
| |
| Modulation to Closely-Related Keys | |
| |
| |
| Key relationships: closely-related keys | |
| |
| |
| diatonic pivot-chord modulation | |
| |
| |
| modulation to V | |
| |
| |
| modulation to the relative major and minor keys | |
| |
| |
| writing pivot chord modulations | |
| |
| |
| modulation to ii and iii from a major key | |
| |
| |
| chromatic modulation | |
| |
| |
| writing chromatic modulations | |
| |
| |
| modulation to VII in minor | |
| |
| |
| modulation and phrase structure: sequential and phrase modulation, modulating periods | |
| |
| |
| modulatory processes | |
| |
| |
| harmonizing modulating melodies | |
| |
| |
| pitch patterns | |
| |
| |
| Small Forms: Binary and Ternary | |
| |
| |
| The binary principle | |
| |
| |
| binary tonal types | |
| |
| |
| binary formal designs | |
| |
| |
| the ternary principle | |
| |
| |
| Contrapuntal Genres | |
| |
| |
| The chorale prelude | |
| |
| |
| the two-voice invention | |
| |
| |
| Bach: Invention no. 3, in DM | |
| |
| |
| the fugue | |
| |
| |
| the fugato | |
| |
| |
| Modal Mixture | |
| |
| |
| Variation Forms | |
| |
| |
| Change of mode | |
| |
| |
| borrowed chords | |
| |
| |
| variation forms | |
| |
| |
| continuous variations | |
| |
| |
| sectional variations | |
| |
| |
| pitch patterns | |
| |
| |
| The Neapolitan and Augmented Sixth Chords | |
| |
| |
| The Neapolitan Sixth | |
| |
| |
| tonicization of the Neapolitan | |
| |
| |
| the Neapolitan in root position | |
| |
| |
| tritone substitution: the Neapolitan as a substitute for V7 | |
| |
| |
| augmented sixth chords with a predominant function | |
| |
| |
| the Italian +6 | |
| |
| |
| the German +6 | |
| |
| |
| the French +6 | |
| |
| |
| other types of +6 chords | |
| |
| |
| summary | |
| |
| |
| Chromatic Modulatory Techniques | |
| |
| |
| Modulation to Distantly Related Keys I Chromatic pivot chords | |
| |
| |
| writing chromatic pivot chord modulations | |
| |
| |
| modulation by enharmonic reinterpretation of the Gr +6 | |
| |
| |
| writing modulations with +6 chords | |
| |
| |
| the Neapolitan as a key area | |
| |
| |
| modulation by enharmonic reinterpretati | |
| |
| |
| on of viio7 | |
| |
| |
| writing modulations with viio7 chords | |
| |
| |
| chromatic linear modulatory processes | |
| |
| |
| pitch patterns | |
| |
| |
| Modulation to Distantly Related Keys II | |
| |
| |
| Chromatic-third relationships | |
| |
| |
| triads related by chromatic third | |
| |
| |
| keys related by chromatic third: common-tone modulation | |
| |
| |
| chromatic-third relationships in modulatory processes | |
| |
| |
| linear chromaticism I: linear chromatic chords | |
| |
| |
| altered triads | |
| |
| |
| augmented sixth chords with dominant and embellishing functions | |
| |
| |
| the common-tone diminished seventh chord | |
| |
| |
| pitch patterns | |
| |
| |
| Introduction to Large Forms | |
| |
| |
| Sonata Form | |
| |
| |
| Mozart, Piano Sonata in CM, K. 309, I | |
| |
| |
| guided studies of sonata form | |
| |
| |
| the Rondo | |
| |
| |
| a five-part rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III | |
| |
| |
| guided studies of rondo form | |
| |
| |
| Expanding Functional Tonality: Extended Tertian Chords | |
| |
| |
| Linear Chromaticism II Expanding chordal sonorities: extended tertian chords | |
| |
| |
| A Fragment by William Grant Still | |
| |
| |
| linear chromaticism II: linear expansions of tonality | |
| |
| |
| appoggiatura chords | |
| |
| |
| chromatic sequences | |
| |
| |
| non-sequential linear processes | |
| |
| |
| pitch patterns | |
| |
| |
| The German Romantic Li | |