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Music Theory

Table of Contents

• About the Author

• Acknowledgments

• Dedication

• Foreword

• Preface

• Chapter 1: The Elements of Rhythm: Sound, Symbol, and Time

  • Durational Values: Symbols Representing Time in Music
  • Pulse, Tempo, and Meter
  • Music Notation Practices
  • Additional Information
  • Summary

• Chapter 2: The Elements of Pitch:Sound, Symbol, and Tone

  • Pitch and Pitch-Class
  • Chromatic Alteration: Accidentals
  • The Keyboard as a Visual Tool
  • Register Designation, The Octave, 8va, and 8vb
  • Pitch Notation: Nomenclature and Solfége
  • Moveable C-Clef; Other Clefs
  • Summary

• Chapter 3: The Foundations Scale-Steps and Scales

  • Scales and Scale-Steps
  • Heptatonic Scales: The Major Scale, The Three Forms of the Minor Scale
  • Solfége Revisited
  • Heptatonic Scales: Introduction to Modes
  • Other Commonly Used Scales
  • Summary

• Chapter 4: Key Sense, Key Signatures, and The Cycle of Fifths

  • Chapter Introduction
  • The Sense of Key: Attributes
  • The Cycle of Fifths as a Mnemonic Device
  • Relative and Parallel Keys
  • Closely-Related Keys
  • Modes Revisited: Transposing Modes, Construction and Identification

• Chapter 5: Intervals

  • Chapter Introduction
  • Simple, Compound and Multiple Intervals
  • Interval Identification Procedure: The Two Evaluative Criteria
  • The Interval Placement Diagram
  • Interval Inversion
  • Interval Construction Procedure
  • Interval Identification and Construction Below a Given Pitch

• Chapter 6: Chords

  • Chapter Introduction
  • Introduction and Definitions
  • The Harmonic (“Overtone”) Series
  • Triads: Four Types, Inversion, and Basic Symbolization
  • Chord Labels and Primary and Secondary Triads
  • The Conditional Status of Second Inversion Triads
  • Introduction to Seventh Chords: Five Basic Types
  • Other Common Trichords and Seventh Chords
  • Larger Chord Structures: Upper Dominant Discords and Non-Dominant Upper Extensions
  • Basic Chord Symbolization

• Chapter 7: Basic Analytical Techniques: The Four Parameters

  • Chapter Introduction
  • The Purpose of Analysis
  • Tonal Music: Expectation and Iteration
  • Roman Numeral Analysis (RNA)
  • The Figured Bass Tradition and its Use in Analysis
  • Categories of Chord Progressions: Expectations in Tonal Harmony

• Chapter 8: The Cadence

  • Chapter Introduction
  • Definition and the Sense of Closure in Music
  • Melodic Cadences
  • Final (Conclusive) and Non-Final (Inconclusive) Cadences
  • Harmonic Cadence Types
  • Procedure for Evaluating and Identifying Cadences

• Chapter 9: Melodic Elaboration I: Non-Harmonic Activity

  • Chapter Introduction
  • Non-Harmonic (Non-Chord) Tones
  • Types of NHT
  • Procedure for Evaluating and Identifying NHT
  • The Suspension Figure

• Chapter 10: Harmonic Elaboration I: Seventh Chords

  • Chapter Introduction
  • Origins of Seventh Chords as Non-Harmonic Activity
  • Expected (Typical) Use of Seventh Chords
  • Evaluating Seventh Chords in Contrast with Non-Harmonic Origins
  • Other Uses of Seventh Chords

• Chapter 11: Chromaticism: Evaluating Tone Outside of the Prevailing Key

  • Chapter Introduction
  • Essential versus Inessential Chromaticism
  • Modulation and Tonicization: Similarities and Contrasts
  • Modulation: Attributes and Closely Related Keys
  • Types of Modulation: Common Chord, Direct (Phrase), Chromatic, Remote, Chain
  • Tonicization: Applied Chords or Secondary Functions
  • Introduction to Altered Chords: Mode Mixture

• Chapter 12: Formal Organization: Small Part Forms

  • Chapter Introduction
  • Form as a Meta-Rhythm
  • The Motive: The Irreducible Creative Gesture
  • Expansion: Sub-Phrase, Phrase, Period, Double Period
  • Phrase Extension and Phrase Elision
  • Small Homophonic Part Forms: Binary, Ternary and Rounded Binary
  • Expansion and Magnification: Textbook Models of Larger Forms

• Chapter 13: Concise Forms: Composing in the Vernacular Style

  • Chapter Introduction
  • Characteristics of Tonal Melody
  • Common Chord Progressions
  • Argot, Jargon, and Slang in Popular Song
  • Typical Formal Patterns
  • The Blues

• Chapter 14: The Four-Voiced Setting: The Chorale and The Chorale Setting

  • Chapter Introduction
  • Introduction and Purpose of Study
  • SATB Chorale Style
  • Proscriptions and Prescriptions: Adherence to the Style
  • Active Tones, Voice Range, Doubling, Position

• Chapter 15: Voice-Leading Procedures: A Positive Learning Approach

  • Chapter Introduction
  • Introduction and Purpose of Study
  • Root Position Triads: Root Motion and Prescribed Procedures
  • Root Position Triads: Conditional Procedures
  • Triads in Inversion: Prescribed Procedures
  • Complete Procedural Table

• Chapter 16: “Emulative” Composition

  • Chapter Introduction
  • Introduction and Purpose of Study
  • Realizing Simple Figured Bass in SATB
  • Realizing Simple Figured Bass in Keyboard Style
  • Procedure for Harmonizing a Given Melody

• Chapter 17: Melodic Elaboration II Adding NHT to a Basic Setting

  • Chapter Introduction
  • Enhancing a Setting using Appropriate Embellishment
  • Restrictions
  • The Suspension Figure: Review and Construction Procedure
  • Cadential Elaboration
  • Other NHT

• Chapter 18: Harmonic Elaboration II: Adding Seventh Chords to a Basic Setting

  • Chapter Introduction
  • Review and Common Use of Seventh Chords
  • Tendency Tones
  • Resolution of Seventh Chords: General Procedures for Voice Leading
  • Special Resolution Procedures

• Chapter 19: Appendix A: Common Musical Terms

• Chapter 20: Appendix B: Upper Dominant Discords and Non-Dominant Upper Extensions

• Chapter 21: Appendix C: Generalized “Textbook” Models of Larger Forms

• Chapter 22: Appendix D: Realizing Chord Changes and Some Typical Jazz Chord Voicings