Music theory remixed: a blended approach for the practicing musician
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; Oxford
Oxford University Press
[2017]
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| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes index |
| Beschreibung: | xxvii, 883 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780199330560 |
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MARC
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Datensatz im Suchindex
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| adam_text | CONTENTS Preface PART! xxi FUNDAMENTALS AND DIATONIC HARMONY PRELUDE: SETTING THE STAGE: LISTENING Introduction: Knowing the Secrets 3 4 5 Three Listening Studies Sound Example 1.1: Scott Johnson, John Somebody—Pt. 1 Sound Example 1.2: Iannis Xenakis, Concret PH 5 6 Sound Example 1.3: Robert Schumann, Arabeske in C major, op. 18 Web Feature PRL.1: John Lee Hooker, Boogie Ch ¡Hun Weaving the Sonic Tapestry: Texture 6 6 7 Monophony: Jean Ritchie, Barbary Allen (Barbara Allen) and Johann Sebastian Bach, Minuet II from Suite no. 1 in G major for solo cello, BWV 1007 7 Homophony: Frédéric Chopin, Prelude in В minor, op. 28, no. 6 8 Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777 8 9 Heterophony: Master Musicians of Jajouka featuring Bachir Attar, El Medahey Conclusion 9 Terms to Know 10 CHAPTER 1: DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES The Keyboard, Pitch, and Pitch Class Clefs and the Grand Staff 15 Level Mastery 1.2 16 Notation on the Staff 12 13 Accidentals and Enharmonic Spellings Level Mastery 1.1 11 14 16 The Harmonic Series and Timbre 17 The Major Scale and Its Scale Degrees 18 Level Mastery 1.3 21 Major Key Signatures 22 |v
23 Level Mastery 1.4 The Minor Scale Forms and Their Scale Degrees The Natural Minor Scale 24 The Harmonic Minor Scale The Melodic Minor Scale Level Mastery 1.5 28 Minor Key Signatures 30 Level Mastery 1.6 31 24 25 26 The Circle of Fifths and Closely Related Keys 32 Web Feature 1.1: Observations of Tonal Relationships and the Evolution of Musical Style Conclusion 33 Terms to Know Self-Test 33 33 34 Apply This! 39 CHAPTER 2: DIMENSIONS OF PITCH 2: MODES, INTERVALS, CONSONANCE AND DISSONANCE Diatonic Modes 40 41 Level Mastery 2.1 43 Web Feature 2.1: Experimenting with Scales 45 Web Feature 2.2: Javanese Court Gamelan, Hudan Mas The Space Between the Tones: Intervals Level Mastery 2.2 Interval Quality 45 Μ 47 Perfect Intervals 48 49 Web Feature 2.3: The Tritone: The Devil in Music Major and Minor Intervals 49 Augmented and Diminished Intervals 50 50 Compound Intervals Spelling Intervals 45 50 Inversion of Intervals 51 Level Mastery 2.3 52 Level Mastery 2.4 54 Consonant and Dissonant Harmonic Intervals 55 Web Feature 2.4: Contextual Dissonance in Richard Strauss s Also Sprach Zarathustra Conclusion Vi I CONTENTS 57 56
Terms to Know 57 58 Self-Test Apply This! 61 CHAPTER 3: DURATION, RHYTHM, AND METER Time: The Wellspring of Music 65 66 67 Metric Structure Sound Example 3.1: Hoobastank, The Reason 67 Web Feature 3.1: Perceiving Levels of Meter in Autechre s C ryste I Types of Meter 69 70 Representing Durations Level Mastery 3.1 75 76 Meter Signatures Level Mastery 3.2 Accent 69 76 78 Level Mastery 3.3 79 Organizing Meter: Beaming and Syncopation 81 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 83 Web Feature 3.4: Changing Groupings in Peter Gabriel s The Rhythm of the Heat Level Mastery 3.4 Additive Meters 83 83 83 84 Sound Example 3.2: Cosmic Voices from Bulgaria, Dilmano, Dilbero 84 Web Feature 3.5: Changing Additive Meters in Igor Stravinsky s Glorification of the Chosen One from The Rite of Spring Level Mastery 5.5 Conclusion Apply This! 86 87 Terms to Know Self-Test 85 88 89 92 CHAPTER 4: TRIADS AND SEVENTH CHORDS Triads and Chord Quality Level Mastery 4.1 Triad Inversions 93 94 95 96 CONTENTS l ѴІІ
Seventh Chords and Chord Quality Level Mastery 4.2 97 99 Seventh Chord Inversions 99 100 Level Mastery 4.3 Introduction to Figured Bass 101 Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach s Recitative II from Cantata no. 140 Level Mastery 4.4 Pop Chord Symbols 103 103 105 Conclusion Terms to Know Self-Test 102 106 106 Apply This! 108 CHAPTER 5: DIATONIC CHORD LABELS Diatonic Triads in Major Keys Roman Numerals 115 116 116 Diatonic Triads in Minor Keys Level Mastery 5.1 117 , 118 Diatonic Seventh Chords in Major Keys 120 Diatonic Seventh Chords in Minor Keys 120 Level Mastery 5.2 Harmonic Functions Level Mastery 5.3 Conclusion Apply This! 122 129 131 Terms to Know Self-Test 121 131 131 132 CHAPTER 6: INTRODUCTION TO COUNTERPOINT AND VOICE LEADING Constructing a Melodic Line Level Mastery 6.1 137 139 Voice Leading and Types of Motion Level Mastery 6.2 140 145 Introduction to the First Three Species of Counterpoint viii I CONTENTS 147 135
First Species 147 Level Mastery 6.3 Second Species 150 150 Level Mastery 6.4 Third Species 153 Level Mastery 6.5 Conclusion 154 155 Terms to Know Self-Test 152 155 156 Apply This! 157 CHAPTER 7: FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE Tendency Tones 159 Level Mastery 7.1 162 More Resolution Principles Level Mastery 7.2 Cadences 163 165 166 Web Feature 7.1: Deceptive Cadences Not Using vi Level Mastery 7.3 173 177 Cadences and Harmonic Rhythm 182 185 Conclusion Terms to Know Self-Test 186 186 Apply This! 190 CHAPTER 8: PART WRITING WITH ROOT-POSITION TRIADS Chord Spacing Doubling 158 191 193 194 Level Mastery 8.1 195 From Doubling to Voice Leading Consistency 196 196 General Part Writing Principles Level Mastery 8.2 197 200 Connecting Triads with the Same Root Connecting Triads a Fourth (Fifth) Apart 201 202 CONTENTS |ix
Connecting Triads a Third (Sixth) Apart 203 Connecting Triads a Second (Seventh) Apart Level Mastery 8.3 Conclusion 203 205 205 Terms to Know 206 206 Self-Test Apply This! 208 CHAPTER 9: PART WRITING WITH FIRST-INVERSION TRIADS AND SEVENTH CHORDS 210 Doubling in First-Inversion Triads Level Mastery 9.1 212 Parallel First-Inversion Triads Level Mastery 9.2 211 213 216 Resolving Diatonic Seventh Chords in First Inversion Le vel Mastery 9.3 Conclusion 217 218 218 Terms to Know 219 221 Self-Test 223 Apply This! CHAPTER 10: PART WRITING WITH SECOND-INVERSION TRIADS AND SEVENTH CHORDS 224 Introduction Doubling 224 225 The Cadentialü Chord Other Contexts for the § Chord 227 The Passing I and J Chord 227 The Neighboring I and Chord 227 The Arpeggiating I and â Chord The Pedal I Chord 228 228 Level Mastery 10.1 Conclusion 231 Terms to Know Self-Test Apply This! xI 227 CONTENTS 232 233 231 229
PART 2 FORM AND CHROMATIC HARMONY 1 CHAPTER 11: MELODIC FIGURATION: NON-CHORD TONES Introduction to Melodic and Textural Reduction 240 An Exercise in Embellishment: My Country, Tis of Thee Neighbor Tones 239 243 243 244 Passing Tones Incomplete Neighbors: Appoggiaturas and Escape Tones Level Mastery 11.1 247 Suspensions, Retardations, and Anticipations Types of Suspensions Retardations 251 Anticipations 252 Level Mastery 11.2 Pedal Point 248 248 252 253 Web Feature 11.1: Non-Chord Tones in Score Context Level Mastery 11.3 Conclusion 255 255 258 Terms to Know 259 259 Self-Test Apply This! 262 CHAPTER 12: MOTIVES, PHRASES, AND PERIODS Motives 245 267 268 Web Feature 12.1: Motives in Bach s Brandenburg Concerto No. 3, Third Movement 271 Web Feature 12.2: Motives in Thelonious Monk s Well You Needn t —In Composition and Improvisation 271 Web Feature 12.3: Motivic Parallelism in Queen s We Are the Champions Putting Ideas Together: Sentence Structure Phrase Structure 272 273 Level Mastery 12.1 Larger Phrase Groupings Hypermeter 272 276 278 281 Arch Maps: A Tool for Analysis of Phrase Structure Level Mastery 12.2 283 286 When Phrases Collide: Elision 286 Web Feature 12.4: Joseph Haydn, Symphony no. 101 ( Clock ), Third Movement 288 CONTENTS I xi
Conclusion 288 Terms to Know Self-Test 288 289 Apply This! 292 CHAPTER 13: HARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL 297 Introduction: Harmonic Function Revisited Level Mastery 13.1 298 299 Periods and the Phrase Model 300 Contrapuntal Expansion of the Phrase Model: Prolongation 302 Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18 306 Level Mastery 13.2 Conclusion 309 Terms to Know Apply This! 306 309 310 CHAPTER 14: HARMONIC PROGRESSION AND SEQUENCE The vii0 315 316 Le vel Mastery 14.1 320 The ii ” and IV|7) in Major and Minor 320 Web Feature 14.1: Bach s Part Writing Solutions in the Prelude in C major, BWV 846, from the Well-Tempered Clavier, Book 1 Level Mastery 14.2 323 The vim in Major and Minor 325 The iii(7) in Major and Minor 325 Level Mastery 14.3 325 Summary of Harmonic Motion The VII in Minor 321 325 326 The Diatonic (Descending Fifth) Circle-of-Fifths Harmonic Sequence Level Mastery 14.4 334 The Reverse (Ascending Fifth) Circle-of-Fifths Harmonic Sequence The Descending Third Harmonic Sequence 336 The Ascending Second (5-6) Harmonic Sequence xii I CONTENTS 326 338 334
The Descending Second (7-6) Harmonic Sequence Harmonic Progression in Popular Music 341 342 Conclusion Terms to Know Self-Test 341 343 343 345 Apply This! CHAPTER 15: SECONDARY CHORDS AND TONICIZATION Secondary Dominant (and Dominant Seventh) Chords Level Mastery 15.1 349 354 Resolving Secondary Dominant Chords Level Mastery 15.2 355 356 Recognizing and Identifying Secondary Dominant Chords The Chromatic Circle-of-Fifths Harmonic Sequence Passing Secondary Dominant Chords Level Mastery 15.3 357 363 365 367 Resolving Secondary Leading-Tone Chords Level Mastery 15.5 357 361 Secondary Leading-Tone (Diminished) Chords Level Mastery 15.4 348 368 368 Recognizing and Identifying Secondary Leading-Tone Chords Web Feature 15.1: Secondary Chords in Musical Context Level Mastery 15.6 369 370 371 Conclusion Terms to Know Self-Test 369 372 372 Apply This 375 CHAPTER 16: MODE MIXTURE Introduction 379 380 Mode Mixture in Major 380 Mode Mixture in Minor 384 Recognizing and Spelling Borrowed Chords Level Mastery 16.1 385 386 CONTENTS I xiii
Conclusion 387 Terms to Know Self-Test 388 388 Apply This! PART3 387 FORM AND CHROMATIC HARMONY 2 CHAPTER 17: MODULATION 1 393 The Harmonic Journey: There and Back Again Web Feature 17.1: Tonality as a Journey 394 394 Common-Chord Modulation Level Mastery 17.1 400 Chromatic Modulation 403 Level Mastery 17.2 408 408 Conclusion Terms to Know Self-Test 394 408 409 409 Apply This! CHAPTER 18: MODULATION 2 415 416 Introduction Common-Tone Modulation Sequential Modulation 417 Monophonic Modulation Direct Modulation 416 417 419 Progressive Tonality 421 Web Feature 18.1: Modulation in Context—Mozart, Fantasy in C Minor K.475 422 422 Conclusion Terms to Know Self-Test 422 423 Apply This! 424 CHAPTER 19: CANON AND FUGUE Introduction 429 Canon: Lassus, Qui Sequitur Me xiv 1 CONTENTS 428 429
430 Fugue: The Exposition 435 After the Exposition 441 Level Mastery 19.1 Contemporary Applications: Bartók, Hindemith, Shostakovitch A Contemporary Application: Gentle Giant, On Reflection 446 Terms to Know 446 448 Apply This! CHAPTER 20: BINARY AND TERNARY FORMS Introduction: The Two-Part Principle Types of Binary Forms Simple Ternary Form 465 468 471 Compound Ternary Form Level Mastery 20.2 Song Form (AABA) 472 476 477 Terms to Know Apply This! 457 468 Ternary Form Self-Test 456 459 Level Mastery 20.1 Conclusion 445 446 Conclusion Self-Test 442 478 478 478 CHAPTER 21: SONATA FORM 497 Introduction: The Evolution of Sonata Form The Exposition 498 503 The Development Section The Recapitulation 509 513 Web Feature 21.1: Sonata Form in Context—Mozart s Symphony no. 40 in G Minor, K. 550 (i) 515 Web Feature 21.2: The Sonata Principle in Popular Music Level Mastery 21.1 Conclusion 515 515 524 Terms to Know 525 CONTENTS ļxv
Self-Test 525 Apply This! 529 CHAPTER 22: RONDO 539 Introduction: Extending the Principle of Departure and Return Web Feature 22.1: The Baroque Rondeau Characteristics of Classic-Era Rondos 540 540 540 The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ( Pathétique ), 541 Second Movement The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ( Pathétique ), Third Movement 545 554 Level Mastery 22.1 The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B, Major, K.333, Third Movement 567 Web Feature 22.2: When Two Episodes Are Not Enough—Mozart s Rondo in F major, K.494 580 The Rondo in Popular Music? 581 Conclusion Terms to Know Self-Test 580 582 582 Apply This! 583 CHAPTER 23: VARIATION FORMS Introduction 608 609 Continuous Variations 609 Contemporary Chaconne no. 1: Philip Glass, Kuru Field of Justice Contemporary Chaconne no. 2: U2, With or Without You Sectional Variations 616 Level Mastery 23.1 621 Jazz Improvisation as Variation Twelve-Bar Blues 612 614 632 637 Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver and Louis Armstrong 637 Techno and Open-Form Variation 638 Variation as a Process: North Indian Raga Conclusion xvi I CONTENTS 642 640
Terms to Know Self-Test 643 643 647 Apply This! CHAPTER 24: CHROMATICISM 1: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS 663 Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling Level Mastery 24.1 666 670 Augmented Sixth Chords 671 The Italian Augmented Sixth (lt+B) 672 The French Augmented Sixth (Fr+6) The German Augmented Sixth (Ger+6) Level Mastery 24.2 673 674 678 Related Chords: The Doubly Augmented з Chord and the Diminished Third Chord Chromatic Harmony in Context of the Phrase Model Conclusion 684 684 Apply This! PART 4 682 683 Terms to Know Self-Test 679 685 ADVANCED CHROMATIC HARMONY AND CONTEMPORARY TECHNIQUES CHAPTER 25: ALTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS 694 Introduction Ninth Chords 695 Eleventh Chords 698 Thirteenth Chords Color Tones 699 702 Level Mastery 25.1 703 Altered Dominant Chords 703 Inversions of Altered Dominant Chords Level Mastery 25.2 Conclusion Apply This! 706 707 707 Terms to Know Self-Test 693 708 708 710 CONTENTS I xvii
CHAPTER 26: FURTHER CHROMATIC ENHANCEMENTS 713 Introduction Extended Tonicization 713 Common-Tone (Embellishing) Diminished Seventh Chords Level Mastery 26.1 Linear Chords 717 718 719 Chromatic Mediant Relationships Neo-Riemannian Theory Level Mastery 26.2 Conclusion 712 721 724 731 732 Terms to Know 733 733 Self-Test Apply This! 735 CHAPTER27: MODULATIONS 738 739 Introduction Enharmonic Modulation 739 Level Mastery 27.1 743 Level Mastery 27.2 745 Other Types of Enharmonic Modulation The Omnibus Progression Modulation as Narrative 750 751 754 Conclusion Terms to Know Self-Test 746 755 755 Apply This! 756 CHAPTER 28: CONTEMPORARY TECHNIQUES 1 759 Introduction: The Path to New Music, Pathways Back to Older Musics A Tale of Three Chords Impressionism Planing 760 760 763 765 Level Mastery 28.1 768 Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel s Sonatine Integer Notation xviii I CONTENTS 770 769
Level Mastery 28.2 771 Synthetic Scales Level Mastery 28.3 Polytonality 770 774 775 Secundai and Quartal-Quintal Chords Level Mastery 28.4 779 Terms to Know Self-Test 778 778 Pandiatonicism Conclusion 776 780 780 Apply This! 781 CHAPTER 29: CONTEMPORARY TECHNIQUES 2 Introduction 782 783 Twelve-Tone Technique Level Mastery 29.1 784 786 Extensions of Twelve-Tone Technique: Integral Serialism 786 Web Feature 29.1: Examples of Twelve-Tone Music in Jazz 791 Free Atonality and Set Theory 791 Octave Equivalence and Mod 12 Level Mastery 29.2 793 794 794 Normal Order Level Mastery 29.3 795 Transpositional Equivalence: The Transposition (Tn) Operation Inversional Equivalence: The Inversion (Тлі) Operation Level Mastery 29.4 Z-Relation 800 801 Level Mastery 29.5 801 Subset and Superset Relations Combinatoriality 802 804 805 Level Mastery 29.6 Conclusion 799 799 Interval Vector Symmetry 797 798 Set Class, Interval Vector, and Z-Relation Set Class 796 806 807 CONTENTS I xix
Terms to Know Self-Test 807 808 810 Apply This! CHAPTER 30: CONTEMPORARY TECHNIQUES 3 Introduction 814 815 New Approaches to Form 815 821 Indeterminacy 822 Minimalism Postmodernism and Stylistic Pluralism Conclusion 823 824 Terms to Know Apply This! 825 825 CHAPTER 31: THE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY Introduction 827 828 Hocked Hooks and Recycled Riffs: Musical Intertextuality Web Feature 31.1: Style: The Way Riffs Wander Narrativity and Musical Meaning Anaphones 828 832 838 839 An Analysis of Anaphones: Pink Floyd, Comfortably Numb [The Wall, 1979) Music and Narrative 847 Web Feature 31.2: Narrative Devices in Schubert s Erlkönig Music as Narrative 845 848 848 Web Feature 31.3: Narrative Elements in Chopin s Ballade No. 1 in G minor, op. 23 Conclusion 848 Terms to Know Self-Test Apply This! 849 850 853 Online Appendix: Answers to Self-Tests Credits 871 Subject Index 873 Index of Musical Examples xx I CONTENTS 879 848
A CONTEMPORARY INTRODUCTION TO MUSIC THEORY WITH A WIDERANGING REPERTORY esigned for today s undergraduate music students, Music Theory Remixed: D A Blended Approach for the Practicing Musician presents music theory through a dual lens of works from the Western canon and examples from popular music, including rock, jazz, techno, film soundtracks, and world music. With exceptional clarity, it balances the study of traditional part writing with the development of essential skills like score analysis and identification of historical style. Each chapter contains guided activities involving analysis, compos improvisation, offering a perfect blend of learned material and practical application. FEATURES • Covers everything from fundamentals through contemporary theory, making it ideal for the full four-semester theory sequence • Contains a variety of in-text and workbook exercises that allow students to apply what they have learned • Based on the latest guidelines and recommendations from the National Association of Schools of Music (NASM) • Includes information on recent developments in music theory, including discussions on Neo-Riemannian (LPR) theory, intertextuality, and narrativity Visit the book’s free, open-access Companion Website at www.oup.com/us/holm-hudson for additional student resources, including complete Spotify playlists for all chapters. An online workbook is also available for separate purchase. ABOUT THE AUTHOR Kevin Holm-Hudson is Associate Professor of Music Theory and Coordinator of the Division of Music Theory and Composition at the University of Kentucky.
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CONTENTS Preface PART! xxi FUNDAMENTALS AND DIATONIC HARMONY PRELUDE: SETTING THE STAGE: LISTENING Introduction: Knowing the Secrets 3 4 5 Three Listening Studies Sound Example 1.1: Scott Johnson, John Somebody—Pt. 1 Sound Example 1.2: Iannis Xenakis, Concret PH 5 6 Sound Example 1.3: Robert Schumann, Arabeske in C major, op. 18 Web Feature PRL.1: John Lee Hooker, "Boogie Ch ¡Hun" Weaving the Sonic Tapestry: Texture 6 6 7 Monophony: Jean Ritchie, "Barbary Allen (Barbara Allen)" and Johann Sebastian Bach, Minuet II from Suite no. 1 in G major for solo cello, BWV 1007 7 Homophony: Frédéric Chopin, Prelude in В minor, op. 28, no. 6 8 Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777 8 9 Heterophony: Master Musicians of Jajouka featuring Bachir Attar, "El Medahey" Conclusion 9 Terms to Know 10 CHAPTER 1: DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES The Keyboard, Pitch, and Pitch Class Clefs and the Grand Staff 15 Level Mastery 1.2 16 Notation on the Staff 12 13 Accidentals and Enharmonic Spellings Level Mastery 1.1 11 14 16 The Harmonic Series and Timbre 17 The Major Scale and Its Scale Degrees 18 Level Mastery 1.3 21 Major Key Signatures 22 |v
23 Level Mastery 1.4 The Minor Scale Forms and Their Scale Degrees The Natural Minor Scale 24 The Harmonic Minor Scale The Melodic Minor Scale Level Mastery 1.5 28 Minor Key Signatures 30 Level Mastery 1.6 31 24 25 26 The Circle of Fifths and Closely Related Keys 32 Web Feature 1.1: Observations of Tonal Relationships and the Evolution of Musical Style Conclusion 33 Terms to Know Self-Test 33 33 34 Apply This! 39 CHAPTER 2: DIMENSIONS OF PITCH 2: MODES, INTERVALS, CONSONANCE AND DISSONANCE Diatonic Modes 40 41 Level Mastery 2.1 43 Web Feature 2.1: Experimenting with Scales 45 Web Feature 2.2: Javanese Court Gamelan, "Hudan Mas" The Space Between the Tones: Intervals Level Mastery 2.2 Interval Quality 45 Μ 47 Perfect Intervals 48 49 Web Feature 2.3: The Tritone: The Devil in Music Major and Minor Intervals 49 Augmented and Diminished Intervals 50 50 Compound Intervals Spelling Intervals 45 50 Inversion of Intervals 51 Level Mastery 2.3 52 Level Mastery 2.4 54 Consonant and Dissonant Harmonic Intervals 55 Web Feature 2.4: Contextual Dissonance in Richard Strauss's Also Sprach Zarathustra Conclusion Vi I CONTENTS 57 56
Terms to Know 57 58 Self-Test Apply This! 61 CHAPTER 3: DURATION, RHYTHM, AND METER Time: The Wellspring of Music 65 66 67 Metric Structure Sound Example 3.1: Hoobastank, "The Reason" 67 Web Feature 3.1: Perceiving Levels of Meter in Autechre's "C ryste I" Types of Meter 69 70 Representing Durations Level Mastery 3.1 75 76 Meter Signatures Level Mastery 3.2 Accent 69 76 78 Level Mastery 3.3 79 Organizing Meter: Beaming and Syncopation 81 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 83 Web Feature 3.4: Changing Groupings in Peter Gabriel's "The Rhythm of the Heat" Level Mastery 3.4 Additive Meters 83 83 83 84 Sound Example 3.2: Cosmic Voices from Bulgaria, "Dilmano, Dilbero" 84 Web Feature 3.5: Changing Additive Meters in Igor Stravinsky's "Glorification of the Chosen One" from The Rite of Spring Level Mastery 5.5 Conclusion Apply This! 86 87 Terms to Know Self-Test 85 88 89 92 CHAPTER 4: TRIADS AND SEVENTH CHORDS Triads and Chord Quality Level Mastery 4.1 Triad Inversions 93 94 95 96 CONTENTS l ѴІІ
Seventh Chords and Chord Quality Level Mastery 4.2 97 99 Seventh Chord Inversions 99 100 Level Mastery 4.3 Introduction to Figured Bass 101 Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach's Recitative II from Cantata no. 140 Level Mastery 4.4 Pop Chord Symbols 103 103 105 Conclusion Terms to Know Self-Test 102 106 106 Apply This! 108 CHAPTER 5: DIATONIC CHORD LABELS Diatonic Triads in Major Keys Roman Numerals 115 116 116 Diatonic Triads in Minor Keys Level Mastery 5.1 117 , 118 Diatonic Seventh Chords in Major Keys 120 Diatonic Seventh Chords in Minor Keys 120 Level Mastery 5.2 Harmonic Functions Level Mastery 5.3 Conclusion Apply This! 122 129 131 Terms to Know Self-Test 121 131 131 132 CHAPTER 6: INTRODUCTION TO COUNTERPOINT AND VOICE LEADING Constructing a Melodic Line Level Mastery 6.1 137 139 Voice Leading and Types of Motion Level Mastery 6.2 140 145 Introduction to the First Three Species of Counterpoint viii I CONTENTS 147 135
First Species 147 Level Mastery 6.3 Second Species 150 150 Level Mastery 6.4 Third Species 153 Level Mastery 6.5 Conclusion 154 155 Terms to Know Self-Test 152 155 156 Apply This! 157 CHAPTER 7: FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE Tendency Tones 159 Level Mastery 7.1 162 More Resolution Principles Level Mastery 7.2 Cadences 163 165 166 Web Feature 7.1: Deceptive Cadences Not Using vi Level Mastery 7.3 173 177 Cadences and Harmonic Rhythm 182 185 Conclusion Terms to Know Self-Test 186 186 Apply This! 190 CHAPTER 8: PART WRITING WITH ROOT-POSITION TRIADS Chord Spacing Doubling 158 191 193 194 Level Mastery 8.1 195 From Doubling to Voice Leading Consistency 196 196 General Part Writing Principles Level Mastery 8.2 197 200 Connecting Triads with the Same Root Connecting Triads a Fourth (Fifth) Apart 201 202 CONTENTS |ix
Connecting Triads a Third (Sixth) Apart 203 Connecting Triads a Second (Seventh) Apart Level Mastery 8.3 Conclusion 203 205 205 Terms to Know 206 206 Self-Test Apply This! 208 CHAPTER 9: PART WRITING WITH FIRST-INVERSION TRIADS AND SEVENTH CHORDS 210 Doubling in First-Inversion Triads Level Mastery 9.1 212 Parallel First-Inversion Triads Level Mastery 9.2 211 213 216 Resolving Diatonic Seventh Chords in First Inversion Le vel Mastery 9.3 Conclusion 217 218 218 Terms to Know 219 221 Self-Test 223 Apply This! CHAPTER 10: PART WRITING WITH SECOND-INVERSION TRIADS AND SEVENTH CHORDS 224 Introduction Doubling 224 225 The Cadentialü Chord Other Contexts for the § Chord 227 The Passing I and J Chord 227 The Neighboring I and Chord 227 The Arpeggiating I and â Chord The Pedal I Chord 228 228 Level Mastery 10.1 Conclusion 231 Terms to Know Self-Test Apply This! xI 227 CONTENTS 232 233 231 229
PART 2 FORM AND CHROMATIC HARMONY 1 CHAPTER 11: MELODIC FIGURATION: NON-CHORD TONES Introduction to Melodic and Textural Reduction 240 An Exercise in Embellishment: "My Country, 'Tis of Thee" Neighbor Tones 239 243 243 244 Passing Tones Incomplete Neighbors: Appoggiaturas and Escape Tones Level Mastery 11.1 247 Suspensions, Retardations, and Anticipations Types of Suspensions Retardations 251 Anticipations 252 Level Mastery 11.2 Pedal Point 248 248 252 253 Web Feature 11.1: Non-Chord Tones in Score Context Level Mastery 11.3 Conclusion 255 255 258 Terms to Know 259 259 Self-Test Apply This! 262 CHAPTER 12: MOTIVES, PHRASES, AND PERIODS Motives 245 267 268 Web Feature 12.1: Motives in Bach's Brandenburg Concerto No. 3, Third Movement 271 Web Feature 12.2: Motives in Thelonious Monk's "Well You Needn't"—In Composition and Improvisation 271 Web Feature 12.3: Motivic Parallelism in Queen's "We Are the Champions" Putting Ideas Together: Sentence Structure Phrase Structure 272 273 Level Mastery 12.1 Larger Phrase Groupings Hypermeter 272 276 278 281 Arch Maps: A Tool for Analysis of Phrase Structure Level Mastery 12.2 283 286 When Phrases Collide: Elision 286 Web Feature 12.4: Joseph Haydn, Symphony no. 101 ("Clock"), Third Movement 288 CONTENTS I xi
Conclusion 288 Terms to Know Self-Test 288 289 Apply This! 292 CHAPTER 13: HARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL 297 Introduction: Harmonic Function Revisited Level Mastery 13.1 298 299 Periods and the Phrase Model 300 Contrapuntal Expansion of the Phrase Model: Prolongation 302 Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18 306 Level Mastery 13.2 Conclusion 309 Terms to Know Apply This! 306 309 310 CHAPTER 14: HARMONIC PROGRESSION AND SEQUENCE The vii0 315 316 Le vel Mastery 14.1 320 The ii ” and IV|7) in Major and Minor 320 Web Feature 14.1: Bach's Part Writing Solutions in the Prelude in C major, BWV 846, from the Well-Tempered Clavier, Book 1 Level Mastery 14.2 323 The vim in Major and Minor 325 The iii(7) in Major and Minor 325 Level Mastery 14.3 325 Summary of Harmonic Motion The VII in Minor 321 325 326 The Diatonic (Descending Fifth) Circle-of-Fifths Harmonic Sequence Level Mastery 14.4 334 The Reverse (Ascending Fifth) Circle-of-Fifths Harmonic Sequence The Descending Third Harmonic Sequence 336 The Ascending Second (5-6) Harmonic Sequence xii I CONTENTS 326 338 334
The Descending Second (7-6) Harmonic Sequence Harmonic Progression in Popular Music 341 342 Conclusion Terms to Know Self-Test 341 343 343 345 Apply This! CHAPTER 15: SECONDARY CHORDS AND TONICIZATION Secondary Dominant (and Dominant Seventh) Chords Level Mastery 15.1 349 354 Resolving Secondary Dominant Chords Level Mastery 15.2 355 356 Recognizing and Identifying Secondary Dominant Chords The Chromatic Circle-of-Fifths Harmonic Sequence Passing Secondary Dominant Chords Level Mastery 15.3 357 363 365 367 Resolving Secondary Leading-Tone Chords Level Mastery 15.5 357 361 Secondary Leading-Tone (Diminished) Chords Level Mastery 15.4 348 368 368 Recognizing and Identifying Secondary Leading-Tone Chords Web Feature 15.1: Secondary Chords in Musical Context Level Mastery 15.6 369 370 371 Conclusion Terms to Know Self-Test 369 372 372 Apply This 375 CHAPTER 16: MODE MIXTURE Introduction 379 380 Mode Mixture in Major 380 Mode Mixture in Minor 384 Recognizing and Spelling Borrowed Chords Level Mastery 16.1 385 386 CONTENTS I xiii
Conclusion 387 Terms to Know Self-Test 388 388 Apply This! PART3 387 FORM AND CHROMATIC HARMONY 2 CHAPTER 17: MODULATION 1 393 The Harmonic Journey: There and Back Again Web Feature 17.1: Tonality as a Journey 394 394 Common-Chord Modulation Level Mastery 17.1 400 Chromatic Modulation 403 Level Mastery 17.2 408 408 Conclusion Terms to Know Self-Test 394 408 409 409 Apply This! CHAPTER 18: MODULATION 2 415 416 Introduction Common-Tone Modulation Sequential Modulation 417 Monophonic Modulation Direct Modulation 416 417 419 Progressive Tonality 421 Web Feature 18.1: Modulation in Context—Mozart, Fantasy in C Minor K.475 422 422 Conclusion Terms to Know Self-Test 422 423 Apply This! 424 CHAPTER 19: CANON AND FUGUE Introduction 429 Canon: Lassus, "Qui Sequitur Me" xiv 1 CONTENTS 428 429
430 Fugue: The Exposition 435 After the Exposition 441 Level Mastery 19.1 Contemporary Applications: Bartók, Hindemith, Shostakovitch A Contemporary Application: Gentle Giant, "On Reflection" 446 Terms to Know 446 448 Apply This! CHAPTER 20: BINARY AND TERNARY FORMS Introduction: The Two-Part Principle Types of Binary Forms Simple Ternary Form 465 468 471 Compound Ternary Form Level Mastery 20.2 Song Form (AABA) 472 476 477 Terms to Know Apply This! 457 468 Ternary Form Self-Test 456 459 Level Mastery 20.1 Conclusion 445 446 Conclusion Self-Test 442 478 478 478 CHAPTER 21: SONATA FORM 497 Introduction: The Evolution of Sonata Form The Exposition 498 503 The Development Section The Recapitulation 509 513 Web Feature 21.1: Sonata Form in Context—Mozart's Symphony no. 40 in G Minor, K. 550 (i) 515 Web Feature 21.2: The Sonata Principle in Popular Music Level Mastery 21.1 Conclusion 515 515 524 Terms to Know 525 CONTENTS ļxv
Self-Test 525 Apply This! 529 CHAPTER 22: RONDO 539 Introduction: Extending the Principle of Departure and Return Web Feature 22.1: The Baroque Rondeau Characteristics of Classic-Era Rondos 540 540 540 The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), 541 Second Movement The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Third Movement 545 554 Level Mastery 22.1 The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B, Major, K.333, Third Movement 567 Web Feature 22.2: When Two Episodes Are Not Enough—Mozart's Rondo in F major, K.494 580 The Rondo in Popular Music? 581 Conclusion Terms to Know Self-Test 580 582 582 Apply This! 583 CHAPTER 23: VARIATION FORMS Introduction 608 609 Continuous Variations 609 Contemporary Chaconne no. 1: Philip Glass, "Kuru Field of Justice" Contemporary Chaconne no. 2: U2, "With or Without You" Sectional Variations 616 Level Mastery 23.1 621 Jazz Improvisation as Variation Twelve-Bar Blues 612 614 632 637 Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver and Louis Armstrong 637 Techno and Open-Form Variation 638 Variation as a Process: North Indian Raga Conclusion xvi I CONTENTS 642 640
Terms to Know Self-Test 643 643 647 Apply This! CHAPTER 24: CHROMATICISM 1: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS 663 Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling Level Mastery 24.1 666 670 Augmented Sixth Chords 671 The Italian Augmented Sixth (lt+B) 672 The French Augmented Sixth (Fr+6) The German Augmented Sixth (Ger+6) Level Mastery 24.2 673 674 678 Related Chords: The Doubly Augmented з Chord and the Diminished Third Chord Chromatic Harmony in Context of the Phrase Model Conclusion 684 684 Apply This! PART 4 682 683 Terms to Know Self-Test 679 685 ADVANCED CHROMATIC HARMONY AND CONTEMPORARY TECHNIQUES CHAPTER 25: ALTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS 694 Introduction Ninth Chords 695 Eleventh Chords 698 Thirteenth Chords Color Tones 699 702 Level Mastery 25.1 703 Altered Dominant Chords 703 Inversions of Altered Dominant Chords Level Mastery 25.2 Conclusion Apply This! 706 707 707 Terms to Know Self-Test 693 708 708 710 CONTENTS I xvii
CHAPTER 26: FURTHER CHROMATIC ENHANCEMENTS 713 Introduction Extended Tonicization 713 Common-Tone (Embellishing) Diminished Seventh Chords Level Mastery 26.1 Linear Chords 717 718 719 Chromatic Mediant Relationships Neo-Riemannian Theory Level Mastery 26.2 Conclusion 712 721 724 731 732 Terms to Know 733 733 Self-Test Apply This! 735 CHAPTER27: MODULATIONS 738 739 Introduction Enharmonic Modulation 739 Level Mastery 27.1 743 Level Mastery 27.2 745 Other Types of Enharmonic Modulation The Omnibus Progression Modulation as Narrative 750 751 754 Conclusion Terms to Know Self-Test 746 755 755 Apply This! 756 CHAPTER 28: CONTEMPORARY TECHNIQUES 1 759 Introduction: The Path to New Music, Pathways Back to Older Musics A Tale of Three Chords Impressionism Planing 760 760 763 765 Level Mastery 28.1 768 Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel's Sonatine Integer Notation xviii I CONTENTS 770 769
Level Mastery 28.2 771 Synthetic Scales Level Mastery 28.3 Polytonality 770 774 775 Secundai and Quartal-Quintal Chords Level Mastery 28.4 779 Terms to Know Self-Test 778 778 Pandiatonicism Conclusion 776 780 780 Apply This! 781 CHAPTER 29: CONTEMPORARY TECHNIQUES 2 Introduction 782 783 Twelve-Tone Technique Level Mastery 29.1 784 786 Extensions of Twelve-Tone Technique: Integral Serialism 786 Web Feature 29.1: Examples of Twelve-Tone Music in Jazz 791 Free Atonality and Set Theory 791 Octave Equivalence and Mod 12 Level Mastery 29.2 793 794 794 Normal Order Level Mastery 29.3 795 Transpositional Equivalence: The Transposition (Tn) Operation Inversional Equivalence: The Inversion (Тлі) Operation Level Mastery 29.4 Z-Relation 800 801 Level Mastery 29.5 801 Subset and Superset Relations Combinatoriality 802 804 805 Level Mastery 29.6 Conclusion 799 799 Interval Vector Symmetry 797 798 Set Class, Interval Vector, and Z-Relation Set Class 796 806 807 CONTENTS I xix
Terms to Know Self-Test 807 808 810 Apply This! CHAPTER 30: CONTEMPORARY TECHNIQUES 3 Introduction 814 815 New Approaches to Form 815 821 Indeterminacy 822 Minimalism Postmodernism and Stylistic Pluralism Conclusion 823 824 Terms to Know Apply This! 825 825 CHAPTER 31: THE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY Introduction 827 828 Hocked Hooks and Recycled Riffs: Musical Intertextuality Web Feature 31.1: Style: The Way Riffs Wander Narrativity and Musical Meaning Anaphones 828 832 838 839 An Analysis of Anaphones: Pink Floyd, "Comfortably Numb" [The Wall, 1979) Music and Narrative 847 Web Feature 31.2: Narrative Devices in Schubert's "Erlkönig" Music as Narrative 845 848 848 Web Feature 31.3: Narrative Elements in Chopin's Ballade No. 1 in G minor, op. 23 Conclusion 848 Terms to Know Self-Test Apply This! 849 850 853 Online Appendix: Answers to Self-Tests Credits 871 Subject Index 873 Index of Musical Examples xx I CONTENTS 879 848
A CONTEMPORARY INTRODUCTION TO MUSIC THEORY WITH A WIDERANGING REPERTORY esigned for today s undergraduate music students, Music Theory Remixed: D A Blended Approach for the Practicing Musician presents music theory through a dual lens of works from the Western canon and examples from popular music, including rock, jazz, techno, film soundtracks, and world music. With exceptional clarity, it balances the study of traditional part writing with the development of essential skills like score analysis and identification of historical style. Each chapter contains guided activities involving analysis, compos improvisation, offering a perfect blend of learned material and practical application. FEATURES • Covers everything from fundamentals through contemporary theory, making it ideal for the full four-semester theory sequence • Contains a variety of in-text and workbook exercises that allow students to apply what they have learned • Based on the latest guidelines and recommendations from the National Association of Schools of Music (NASM) • Includes information on recent developments in music theory, including discussions on Neo-Riemannian (LPR) theory, intertextuality, and narrativity Visit the book’s free, open-access Companion Website at www.oup.com/us/holm-hudson for additional student resources, including complete Spotify playlists for all chapters. An online workbook is also available for separate purchase. ABOUT THE AUTHOR Kevin Holm-Hudson is Associate Professor of Music Theory and Coordinator of the Division of Music Theory and Composition at the University of Kentucky. |
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