Music Theory Remixed: A Blended Approach for the Practicing Musician 1st Edition

Cover
Contents
Preface
PART 1 Fundamentals and Diatonic Harmony
	PRELUDE Setting the Stage: Listening
		Introduction: Knowing the Secrets
		Three Listening Studies
			Sound Example PRL.1: Scott Johnson (b. 1952), John Somebody-Pt. 1
			Sound Example PRL.2: Iannis Xenakis (1922-2001), Concrèt PH
			Sound Example PRL.3: Robert Schumann (1810-1856), Arabeske in C major, op. 18
			Web Feature PRL.1
		Weaving the Sonic Tapestry: Texture
			Monophony: Jean Ritchie and Johann Sebastian Bach
			Homophony: Fréderic Chopin (1810-1849), Prelude in B minor, op. 28 no. 6
			Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777
			Heterophony: Master Musicians of Jajouka featuring Bachir Attar, “El Medahey”
		Conclusion
		Terms to Know
	CHAPTER 1 Dimensions of Pitch Notation, Scales, and Key Signatures
		The Keyboard, Pitch, and Pitch Class
		Clefs and the Grand Staff
		Accidentals and Enharmonic Spellings
			Level Mastery 1.1.
			Level Mastery 1.2.
		Notation on the Staff
		The Harmonic Series and Timbre
		The Major Scale and Its Scale Degrees
			Level Mastery 1.3.
		Major Key Signatures
			Level Mastery 1.4
		The Minor Scale Forms and Their Scale Degrees
			The Natural Minor Scale
			The Harmonic Minor Scale
			The Melodic Minor Scale
			Level Mastery 1.5.
		Minor Key Signatures
			Level Mastery 1.6.
		The Circle of Fifths and Closely Related Keys
			Web Feature 1.1 Observations of Tonal Relationships and the Evolution of Musical Style
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 2 Dimensions of Pitch 2: Modes, Intervals, Consonance and Dissonance
		Diatonic Modes
			Level Mastery 2.1.
			Web Feature 2.1: Experimenting with Scales
			Web Feature 2.2: Javanese Court Gamelan, “Hudan Mas”
		The Space Between the Tones: Intervals
			Level Mastery 2.2.
		Interval Quality
			Perfect Intervals
			Web Feature 2.3: The Tritone: The Devil in Music
			Major and Minor Intervals
			Augmented and Diminished Intervals
			Compound Intervals
		Spelling Intervals
		Inversion of Intervals
			Level Mastery 2.3.
			Level Mastery 2.4.
		Consonant and Dissonant Harmonic Intervals
			Web Feature 2.4: Contextual Dissonance in Richard Strauss’s Also Sprach Zarathustra
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 3 Duration, Rhythm, and Meter
		Time: The Wellspring of Music
		Metric Structure
			Sound Example 3.1: Hoobastank, “The Reason”
			Web Feature 3.1: Perceiving Levels of Meter in Autechre’s “Crystel”
		Types of Meter
		Representing Durations
			Level Mastery 3.1.
		Meter Signatures
			Level Mastery 3.2.
		Accent
			Level Mastery 3.3.
		Organizing Meter: Beaming and Syncopation
			Web Feature 3.2: Competing Groupings in Dave Matthews Band’s “Drive In Drive Out”
			Web Feature 3.3: Issues in Tempo, Meter, and Notation
			Web Feature 3.4: Changing Groupings in Peter Gabriel’s “The Rhythm of the Heat”
			Level Mastery 3.4.
		Additive Meters
			Sound Example 3.2: Cosmic Voices from Bulgaria, “Dilmano, Dilbero”
			Web Feature 3.5: Changing Additive Meters in Igor Stravinsky’s “Glorification of the Chosen One"
			Level Mastery 3.5.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 4 Triads and Seventh Chords
		Triads and Chord Quality
			Level Mastery 4.1.
		Triad Inversions
		Seventh Chords and Chord Quality
			Level Mastery 4.2.
		Seventh Chord Inversions
			Level Mastery 4.3.
		Introduction to Figured Bass
			Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach’s Recitative II
			Level Mastery 4.4.
		Pop Chord Symbols
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 5 Diatonic Chord Labels
		Diatonic Triads in Major Keys
		Roman Numerals
		Diatonic Triads in Minor Keys
			Level Mastery 5.1.
		Diatonic Seventh Chords in  Major Keys
		Diatonic Seventh Chords in Minor Keys
			Level Mastery 5.2.
		Harmonic Functions
			Level Mastery 5.3.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 6 Introduction to Counterpoint  and Voice Leading
		Constructing a Melodic Line
			Level Mastery 6.1.
		Voice Leading and Types of Motion
			Level Mastery 6.2.
		Introduction to the First Three Species of Counterpoint
			First Species
			Level Mastery 6.3.
			Second Species
			Level Mastery 6.4.
			Third Species
			Level Mastery 6.5.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 7 Forces of Resolution: Tendency Tones, Cadences, and Closure
		Tendency Tones
			Level Mastery 7.1.
		More Resolution Principles
			Level Mastery 7.2.
		Cadences
			Web Feature 7.1: Deceptive Cadences Not Using vi
			Level Mastery 7.3.
		Cadences and Harmonic Rhythm
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 8 Part Writing with  Root-Position Triads
		Chord Spacing
		Doubling
			Level Mastery 8.1.
		From Doubling to Voice Leading
		Consistency
		General Part Writing Principles
			Level Mastery 8.2.
		Connecting Triads with the Same Root
		Connecting Triads a Fourth  (Fifth) Apart
		Connecting Triads a Third  (Sixth) apart
		Connecting Triads a Second  (Seventh) Apart
			Level Mastery 8.3.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 9 Part Writing with First-Inversion Triads and Seventh Chords
		Doubling in First-Inversion Triads
			Level Mastery 9.1.
		Parallel First-Inversion Triads
			Level Mastery 9.2.
		Resolving Diatonic Seventh Chords in First Inversion
			Level Mastery 9.3.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 10 Part Writing with Second-Inversion Triads and Seventh Chords
		Introduction
		Doubling
		The Cadential 6/4 Chord
		Other Contexts for the 6/4 Chord
			The Passing 6/4 and 4/3 Chord
			The Neighboring 6/4 and 4/3 Chord
			The Arpeggiating 6/4 and 4/3 Chord
			The Pedal 6/4 Chord
			Level Mastery 10.1.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
PART 2: Form and Chromatic Harmony 1
	CHAPTER 11 Melodic Figuration: Non-Chord Tones
		Introduction to Melodic and  Textural Reduction
		An Exercise in Embellishment:  “My Country, ’Tis of Thee”
			Neighbor Tones
			Passing Tones
			Incomplete Neighbors: Appoggiaturas and Escape Tones
			Level Mastery 11.1.
			Suspensions, Retardations, and Anticipations
				Types of suspensions.
				Retardations.
				Anticipations.
			Level Mastery 11.2.
			Pedal Point
			Web Feature 11.1: Non-Chord Tones in Score Context
			Level Mastery 11.3.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 12 Motives, Phrases, and Periods
		Motives
			Web Feature 12.1: Motives in Bach’s Brandenburg Concerto No. 3, Third Movement
			Web Feature 12.2: Motives in Thelonious Monk’s “Well You Needn’t”—In Composition and Improvisation
			Web Feature 12.3: Motivic Parallelism in Queen’s “We Are the Champions”
		Putting Ideas Together: Sentence Structure
		Phrase Structure
			Level Mastery 12.1.
		Larger Phrase Groupings
		Hypermeter
		Arch Maps: A Tool for Analysis of Phrase Structure
			Level Mastery 12.2.
		When Phrases Collide: Elision
			Web Feature 12.4: Joseph Haydn, Symphony no. 101 (“Clock”), Third Movement
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 13 Harmonic Function Applied: Prolongation and the Phrase Model
		Introduction: Harmonic Function Revisited
			Level Mastery 13.1.
		Periods and the Phrase Model
		Contrapuntal Expansion of the Phrase Model: Prolongation
			Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18
			Level Mastery 13.2.
		Conclusion
		Terms to Know
		Apply This!
	CHAPTER 14 Harmonic Progression  and Sequence
		The viiº
			Level Mastery 14.1.
		The ii(7) and IV(7) in Major and Minor
			Web Feature 14.1: Bach’s Part Writing Solutions in the Prelude in C major, BWV 846
			Level Mastery 14.2.
		The vi(7) in Major and Minor
		The iii(7) in Major and Minor
			Level Mastery 14.3.
		Summary of Harmonic Motion
		The VII in Minor
		The Diatonic (Descending Fifth)  Circle-of-Fifths Harmonic Sequence
			Level Mastery 14.4.
		The Reverse (Ascending Fifth)  Circle-of-Fifths Harmonic Sequence
		The Descending Third Harmonic Sequence
		The Ascending Second 5-6 Harmonic Sequence
		The Descending Second 7-6 Harmonic Sequence
		Harmonic Progression in Popular Music
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 15 Secondary Chords and Tonicization
		Secondary Dominant (and Dominant Seventh) Chords
			Level Mastery 15.1
		Resolving Secondary Dominant Chords
			Level Mastery 15.2.
		Recognizing and Identifying Secondary Dominant Chords
		The Chromatic Circle-of-Fifths Sequence
		Passing Secondary Dominant Chords
			Level Mastery 15.3.
		Secondary Leading-Tone (Diminished) Chords
			Level Mastery 15.4.
		Resolving Secondary Leading-Tone Chords
			Level Mastery 15.5.
		Recognizing and Identifying Secondary Leading-Tone Chords
			Web Feature 15.1: Secondary Chords in Musical Context
			Level Mastery 15.6.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 16 Mode Mixture
		Introduction
		Mode Mixture in Major
		Mode Mixture in Minor
		Recognizing and Spelling Borrowed Chords
			Level Mastery 16.1.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
PART 3 Form and Chromatic Harmony 2
	CHAPTER 17 Modulation 1
		The Harmonic Journey:  There and Back Again
			Web Feature 17.1: Tonality as a Journey
		Common Chord Modulation
			Level Mastery 17.1.
		Chromatic Modulation
			Level Mastery 17.2.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 18 Modulation 2
		Introduction
		Common-Tone Modulation
		Sequential Modulation
		Monophonic Modulation
		Direct Modulation
		Progressive Tonality
			Web Feature 18.1: Modulation in Context—Mozart, Fantasy in  C Minor K.475
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 19 Canon and Fugue
		Introduction
		Canon: Lassus, “Qui Sequitur Me”  (“He That Followeth Me”)
		Fugue: The Exposition
		After the Exposition
			Level Mastery 19.1.
		Contemporary Applications:  Bartók, Hindemith, Shostakovitch
		Contemporary Applications:  Gentle Giant, “On Reflection”
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 20 Binary and Ternary Forms
		Introduction: The Two-Part Principle
		Types of Binary Forms
			Level Mastery 20.1.
		Ternary Form
		Simple Ternary Form
		Compound Ternary Form
			Level Mastery 20.2.
		Song Form (AABA)
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 21 Sonata Form
		Introduction: The Evolution  of Sonata Form
		The Exposition
		The Development Section
		The Recapitulation
			Web Feature 21.1: Sonata Form in Context—Mozart’s Symphony no. 40 in  G Minor, K. 550 (i)
			Web Feature 21.2: The Sonata Principle in Popular Music
			Level Mastery 21.1.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 22 Rondo
		Introduction: Extending the Principle of Departure and Return
			Web Feature 22.1: The Baroque Rondeau
		Characteristics of Classic-Era Rondos
		The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 (“Pathétique”) Second Movement
		The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 (“Pathétique”) Third Movement
			Level Mastery 22.1.
		The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B♭ Major, K.333,  Third Movement
			Web Feature 22.2: When Two Episodes Are Not Enough—Mozart’s Rondo in F major, K.494
		The Rondo in Popular Music?
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 23 Variation Forms
		Introduction
		Continuous Variations
			Contemporary Chaconne no. 1: Philip Glass, “Kuru Field of Justice”
			Contemporary Chaconne no. 2: U2, “With or Without You”
		Sectional Variations
			Level Mastery 23.1.
		Jazz Improvisation as Variation
		Twelve-Bar Blues
			Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver/Louis Armstrong
		Techno and Open-Form Variation
		Variation as a Process: North Indian Raga
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 24 Chromaticism 1: The Neapolitan Chord and Augmented Sixth Chords
		Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling
			Level Mastery 24.1
		Augmented Sixth Chords
			The Italian Augmented Sixth (It+6).
			The French Augmented Sixth (Fr+6).
			The German Augmented Sixth (Ger+6).
			Level Mastery 24.2
		Related Chords: The Doubly Augmented 4/3 Chord and the Diminished Third Chord
		Chromatic Harmony in Context of the Phrase Model
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
PART 4 Advanced Chromatic Harmony and Contemporary Techniques
	CHAPTER 25 Alterations and Additions to Triads and Seventh Chords
		Introduction
			Ninth Chords.
			Eleventh Chords.
			Thirteenth Chords.
			Color Tones.
			Level Mastery 25.1
		Altered Dominant Chords
		Inversions of Altered Dominant Chords
			Level Mastery 25.2
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 26 Further Chromatic Enhancements
		Introduction
		Extended Tonicization
		Common-Tone (Embellishing) Diminished Seventh Chords
			Level Mastery 26.1.
		Linear Chords
		Chromatic Mediant Relationships
		Neo-Riemannian Theory
			Level Mastery 26.2.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 27 Modulation 3
		Introduction
		Enharmonic Modulation
			Level Mastery 27.1.
			Level Mastery 27.2
		Other Types of Enharmonic Modulation
		The Omnibus Progression
		Modulation as Narrative
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 28 Contemporary Techniques 1
		Introduction: The Path to New Music, Pathways Back to Older Musics
		A Tale of Three Chords
		Impressionism
		Planing
			Level Mastery 28.1
			Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel’s Sonatine
		Integer Notation
			Level Mastery 28.2
		Synthetic Scales
			Level Mastery 28.3.
		Polytonality
		Secundal and Quartal-Quintal Chords
			Level Mastery 28.4.
		Pandiatonicism
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 29 Contemporary Techniques 2
		Introduction
		Twelve-Tone Technique
			Level Mastery 29.1.
		Extensions of Twelve-Tone Technique: Integral Serialism
			Web Feature 29.1: Examples of Twelve-Tone Music in Jazz
		Free Atonality and Set Theory
			Octave Equivalence and Mod 12.
			Level Mastery 29.2.
			Normal Order.
			Level Mastery 29.3.
		Transpositional Equivalence: The Transposition (Tn) Operation
		Inversional Equivalence—The Inversion (TnI) Operation
			Level Mastery 29.4.
		Set Class, Interval Vector, and Z-Relation
			Set Class.
			Interval Vector.
			Z-Relation.
			Level Mastery 29.5.
		Subset and Superset Relations
		Combinatoriality
		Symmetry
			Level Mastery 29.6.
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
	CHAPTER 30 Contemporary Techniques 3
		Introduction
		New Approaches to Form
		Indeterminacy
		Minimalism
		Postmodernism and Stylistic Pluralism
		Conclusion
		Terms to Know
		Apply This!
	CHAPTER 31 The Stories We Could Tell: Musical Narrativity and Intertextuality
		Introduction
		Hocked Hooks and Recycled Riffs: Musical Intertextuality
			Web Feature 31.1: Style: The Way Riffs Wander
		Narrativity and Musical Meaning
		Anaphones
			An Analysis of Anaphones: Pink Floyd, “Comfortably Numb” (The Wall, 1979)
		Music and Narrative
			Web Feature 31.2: Narrative Devices in Schubert’s “Erlkönig”
			Music as Narrative
			Web Feature 31.3: Narrative Elements in Chopin’s Ballade No. 1 in G minor, op. 23
		Conclusion
		Terms to Know
		Self-Test
		Apply This!
Credits
Subject Index
Index of Musical Examples