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Practical Music Theory

Practical Music Theory


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About the Book

FINALLY...A Music Theory Package With Online Drills and Instant Assessment and Grading! A practical, comprehensive, and concise approach to the study of music theory, John Baur's Practical Music Theory is enhanced by the full power of online resources to explore and teach the primary theoretical material. Seamlessly integrated within the framework of the Practical Music Theory textbook is access to a robust accompanying website that features: *Practical Student Resources - Homework examples and exams with instant grading sent to the instructor, PowerPoint(R) presentations, drills, and practice tests for each chapter. *Invaluable Instructor Resources - Including PowerPoint(R) presentations for each chapter, full course management software, lecture outlines for semester/quarter format courses, and additional analytical discussions. *Technology - Interactive drill work exercises and audio files/YouTube(TM) links to all music examples.Practical Music Theory begins with introductory chapters that bring a vast array of theoretical understanding to the student at the beginning of the course and continues with a comprehensive look at tonal music, part-writing, and form ending with a wide array of 20th and 21st century materials.

Table of Contents:
PART ONE: INTRODUCTORY MATERIAL Chapter 1. Notation of Pitch and Rhythm Early notation, four- line staff, C and F clefs Modern staff, clefs (treble, bass clefs, grand staff) Octave designations Rhythmic modes and early notation of rhythm Modern notation of rhythm and meter rhythmic symbols beat designation use of dots meter and tempo simple meter compound meter irregular meter Chapter 2. Scales and Intervals Modes, solmization system Major scale and key signatures Names of scale degrees Modern Solfege Intervals: major perfect minor augmented diminished inversion of intervals consonant and dissonant intervals Minor scale and key signatures natural minor harmonic minor melodic minor Solfege for minor do-re-me la-ti-do Other scales: chromatic pentatonic whole tone octatonic synthetic scales 12-tone row Chapter 3. Organizational Concepts Melodic phrase: standard 2-, 4-measure phrase antecedent/consequence phrase motivic constructions irregular length phrases melodic cadences Melodic sequence: tonal real Rhythmic devices and accent: agogic accent tonic accent hemiola isorhythm Multiple phrase combinations: binary rounded binary ternary Chapter 4. Triads Triadic construction: major minor diminished augmented Triads in the major and minor scale Inversions of triads Roman numeral designations/names Figured bass Root progression: in tonal music in modal music Harmonic cadences: modal cadences: double leading tone, Phrygian, single leading tone tonal cadences: authentic, plagal, deceptive, half, Phrygian, leading tone Chapter 5. Timbral Concepts Orchestral instruments Transposition horns trumpets clarinets alto flute English horn piccolo contrabassoon and double bass Instrumental combinations Score order The notated page Basic terms of music on the score PART TWO: THE MAJOR/MINOR HARMONIC SYSTEM Chapter 6. Diatonic Harmony: Voice Leading and Functional Harmony Functional harmony Harmonic progression of diatonic chords Use of inversion and voice doubling Introduction to part-writing Harmonization of melodies using diatonic chords Range and voice leading Tendency tones and resolutions Chapter 7. Use and Function of Non-Chord Tones Passing tones Accented passing tones Chromatic passing tones/accented chromatic passing tones Neighbor tones Anticipation Escape tones (and cambiata figure) Changing tones Suspensions and retardations Appoggiatura Pedal tones Chapter 8. Seventh Chords in Diatonic Harmony, with Inversions Basic construction: major-minor minor-minor major-major diminished-minor diminished-diminished Construction within the scale (major and minor) Inversions Voice leading for root position seventh chords and inversions: major-minor minor-minor major-major diminished-minor diminished-diminished Chorale harmonization using 7th chords Chapter 9. Secondary Dominants Construction and use Diatonic modulation: key relationships Use of pivot chord in diatonic modulation: means of modulation diatonic modulation through diatonic means diatonic modulation through chromatic means diatonic modulation through enharmonic means Part-writing using secondary dominants with modulation Figured bass using secondary dominants Chapter 10. Secondary Diminished 7th Chords Construction Use and function Enharmonic usage modulation to eight keys Part-writing using secondary diminished 7th chords Chapter 11. Realization of Figured Bass Figures: triad and inversions Melodic figuration Use of sharps and flats Realization and part-writing Chapter 12. Chromatic Modulation Chromatic key relationships Means for chromatic modulation chromatic modulation through chromatic means chromatic modulation through diatonic means Third relation Chapter 13. Altered Chords Neapolitan 6th chord Augmented 6th chords Augmented dominant (with and without the 7th) Further concepts of part-writing PART THREE: DEVELOPMENT OF FORM IN THE MAJOR/MINOR SYSTEM Chapter 14. Early forms Binary form Ternary form Da Capo aria Passacaglia/chaconne techniques Rounded binary Fugue technique Chapter 15. Classic Forms Minuet-trio Sonata-allegro Small rondo Large rondo Sonata-rondo Chapter 16. Romantic Forms: Extension of Previous Forms Scherzo-trio Sonata-allegro expansion PART FOUR: EXTENDED HARMONY AND DISSONANCE IN MAJOR/MINOR SYSTEM: THE LATE 19TH CENTURY Chapter 17. Modal Borrowing, 9th, 11th, 13th Chords Modal borrowing (bimodality) 9th chords (major and minor 9th) 11th chord construction and use 13th chord construction and use Part-writing and use Chapter 18. Harmonic Extension in the 19th Century Linear functions (chordal mutation) Enharmonic concepts (diminished 7th chord, augmented 6th chord, dominant 7th) Substitute dominants Further part-writing concepts Postlude: The dissolution of the major/minor system Linear/parallel harmony (planing) Common-tone diminished 7th Non-functional use of chords Destruction of functionality Chapter 19. Experiments in Part-Writing Three Harmonizations of Hyfrydol: Wesley Emerson (traditional) Extended Harmonization of Keep Me Everyday: Leo Davis (gospel) Three Harmonizations of What a Wonderful World: Jack Cooper (jazz) PART FIVE: 20TH AND 21ST CENTURY CONCEPTS (MODERN AND POST-MODERN) Chapter 20. Chromatic extensions (Schoenberg, Webern, Skryabin) Set theory concepts set class prime form/normal form transposition and inversion Intervallic control and projection Atonality Gestural control Chapter 21. Scalar Extensions (Debussy, Stravinsky, Bartok, Messiaen) Parallel harmony (planing) Pentatonic scale Whole tone scale Panditonicism Synthetic scales Octatonic scale Messiaen Modes of Limited Transposition Chapter 22. Chordal Extensions (Hindemith, Milhaud, Stravinsky) Quartal/quintal harmony Secundal harmony Expanded tertian harmony Bichordal and Polychordal use Polytonality Chapter 23. 12-Tone (Schoenberg, Webern, Dallapiccola) Row construction Matrix Basic use of the 12-tone system Combinatoriality hexachord use tetrachord use trichord use Chapter 24. Gesture and Texture Explorations (Schoenberg, Bartok, Penderecki, Lutoslawski) Gesture as motive Proportional notation Textural gestures Pitch wheels Chapter 25. Process Concepts (Messiaen, Cage, Part) Total serialism I Ching methods Tintinnabulation Chapter 26. Fusion (Torke, Adams, Ince) Minimalism/post-minimalism Text/pitch manipulation Folk/national influences Rock/pop influences


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Product Details
  • ISBN-13: 9781465217905
  • Publisher: Kendall/Hunt Publishing Co ,U.S.
  • Publisher Imprint: Kendall/Hunt Publishing Co ,U.S.
  • Height: 254 mm
  • No of Pages: 250
  • Width: 203 mm
  • ISBN-10: 1465217908
  • Publisher Date: 02 Jan 2014
  • Binding: Paperback
  • Language: English
  • Spine Width: 25 mm

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