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Index
Cover Half title Title Copyright Dedication Contents Preface Chapter 1 A Review of Fundamentals
Pitch Representation
Pitches Staves Accidentals and Enharmonic Spellings
Time and Meter
Note and Rest Values Beats
Chapter Review Anthology References Self-Test Exercises
Chapter 2 Rhythm
The Temporal Factor Meter
Time Signatures Beaming Dots and Ties Simple, Compound, and Asymmetrical Meter Historical Perspective Compound Meter Expanded
Other Divisions and Interpretations of the Beat
Triplets Duplets
Complex Groupings
Constant Values over One Beat Variable Values over One or More Beats Rhythmic Notation
Counting and Rendering of Rhythmic Figures
The Half-Beat Concept Intrinsically Normal Accents Anacrusis Syncopation Counting Beat Divisions of Less Than Half
Articulation and Interpretation Chapter Review Anthology References Self-Test Exercises
Chapter 3 Scales, Keys, and Modes
Scales Major-Scale Construction Minor-Scale Construction
Relative Minor Scales The Natural or Pure Minor Scale The Harmonic Minor Scale The Melodic Minor Scale Technical Names of Scale Degrees
Keys and Key Signature
Parallel Scale and Key Relationships Several Other Commonly Used Scale Types The Circle of Fifths Tetrachords
Modes
Mode Transposition
Chapter Review Anthology References Self-Test Exercises
Chapter 4 Intervals
Basic Notions Interval Distance
Using Key and Scale Using the Major Key of the Lower Note
Interval Quality
Major Intervals Perfect Intervals Minor Intervals Augmented Intervals Doubly Augmented Intervals Diminished Intervals Doubly Diminished Intervals Simple and Compound Intervals Inversion of Intervals
Interval Characteristics
Consonance and Dissonance Subjective Aural Evaluation Consonant Intervals Dissonant Intervals Pitch Tendency Interval-Resolution Tendency
Chapter Review Anthology References Self-Test Exercises
Chapter 5 Triads
Triad Qualities
Major Triads Minor Triads Diminished Triads Augmented Triads
Triad Construction Numerical Designation and Identification of Triads Triads in Scales and Modes
Triads Derived from Major and Minor Scales Triads in Modes
Inversions of Triads Note-Spacing in Triads The Figured-Bass System
Identifying Root Position and Inversions of Triads
Identifying Spread-Position Triads Popular-Music Formats Chapter Review Anthology References Self-Test Exercises
Chapter 6 Seventh Chords
Seventh-Chord Qualities
Diatonic Sevenths in Major Scales Diatonic Sevenths in Minor Scales
Inversions of Seventh Chords in Traditional Practice
Root Position Inversions
Numerical Labeling
Precise Labeling of Seventh Chords Seventh Chords in Popular Music
Diatonic Sevenths and Hybrid Types Inversions of Seventh Chords in Popular Music Intervallic Configuration of Seventh Chords More on Hybrid Types Dominant and Nondominant Seventh Chords Extension of Tertian Construction Chapter Review Anthology References Self-Test Exercises
Chapter 7 Voice Leading and Four-Part Writing
Pitch Tendency within the Major Scale
The Tonic The Supertonic The Mediant The Subdominant The Dominant The Overtone Series The Submediant The Leading Tone
Chorale Style and Four-Part Writing
Chorale Style Why Four-Part Writing? Overview of Chorale Style General Procedures for Four-Part Writing
Voice Leading of Triads and Dominant Seventh Chords
Triads Six-Four Inversions Dominant Seventh Chords
Voice Leading of Diminished and Augmented Chords
Resolution of Seventh Chords The III+7 Chord The viiø7 and viio7 Chords Deceptive Resolution of the viio, viiø7, and viio7
Chapter Review Anthology References Self-Test Exercises
Chapter 8 Harmonic Progression
Chordal Tendencies and Musical Style
Similarities among Triads and Sevenths Common-Practice and Popular Genres
Chord Movement
The Circle Progression Progressive and Retrogressive Movements
Substitution, Factors, and Chord Choice
Substitution by Extension of a Lower Third Substitution by Extension of a Higher Third
More on Choosing Chords in a Progression
The Control of Tension Structural and Embellishing Chords
Harmonizing a Melody
The Structural Component Determining the Key Rhythmic Stress Chord Selection in SATB Format The Harmonic Accompaniment to a Melody
Chapter Review Anthology References Self-Test Exercises
Chapter 9 Nonharmonic Tones
Types of Nonharmonic Tones
The Passing Tone The Neighboring Tone The Appoggiatura The Escape Tone The Suspension The Retardation The Anticipation The Free Tone The Pedal Tone The Organ Point The Cambiata Changing Tones
Embellished Nonharmonic Tones Nonharmonic Tones in Four-Part Writing Nonharmonic Tones as a Function of Melody Chapter Review Anthology References Self-Test Exercises
Chapter 10 Melody
Melody Perception Components of Melody
The Cell The Motive The Phrase
Types of Melodies
Melodic Development
Composing Melodies
Popular-Song Writing and Traditional Composition
Chapter Review Anthology References Self-Test Exercises
Chapter 11 Musical Structure
The Elements of Structure
The Single Note Structure and Relationship Structural Elements at the Macro Level
Cadences
The Perfect Authentic Cadence The Imperfect Authentic Cadence The Semicadence The Plagal Cadence The Deceptive Cadence The Phrygian and Landini Cadences and the Picardy Third Cadential Modifications
Cadences in Popular Music
The Tritone Substitution
The Phrase
Phrase Analysis of Two Works Period and Phrase Types
Binary and Ternary Structure
Binary Structure Ternary Structure
Popular-Song Structure
The SDR Principle
Structure and Improvisation An Introduction to Modulation
Recognizing a Modulation Types of Modulation
Chapter Review Anthology References Self-Test Exercises
Chapter 12 Secondary Dominants and Dominant Sevenths
Chromaticism and Diatonicism Secondary-Dominant Chords
Origin and Derivation Inversions Assessment
Secondary-Dominant Seventh Chords
Inversions and Introductory Remarks on Resolution
Resolutions of Secondary-Dominant Chords
Deceptive Resolutions V/V and V7/V to the Tonic Six-Four Circle Progressions The V7/IV Unusual Resolutions
Chapter Review Anthology References Self-Test Exercises
Chapter 13 Functions of Diminished Chords
Description and Location of Diatonic Diminished Chords Embellishing Function of Diminished Chords
Origin of Diminished Chords The viio and V7 The viiø7, viio7, and V7
Applications
The Secondary viio Secondary Fully and Half Diminished Sevenths Deceptive Resolution of Diminished Chords Inversions of Diminished Chords viio6, the Predominant Inversion Preparation and Resolution of the Tritone and Seventh
Additional Characteristics of Diminished Chords
Pitch Spellings of Fully Diminished Sevenths Alteration of Fully Diminished and Half-Diminished Seventh Chords The ø7 and m7b5
Chapter Review Anthology References Self-Test Exercises
Chapter 14 Borrowed Functions: Movements and Regions
Chromaticism Borrowed Chords
Function Borrowed Chords and Secondary Chords Qualities Part Writing
Change-of-Quality Chords
Characteristics
Related and Remote Movement Key Regionalizing Chapter Review Anthology References Self-Test Exercises
Chapter 15 The Neapolitan Chord
Spelling of the N6 Characteristics of the Neapolitan Part Writing of the N6 The Neapolitan as a Tritone Substitution Chapter Review Anthology References Self-Test Exercises
Chapter 16 German, French, and Italian Augmented Sixth Chords
Augmented Sixths
Root Origin Implications of Intrinsic Augmented Sixths Passing-Tone Motion and Approach
Structure and Function of German Sixths
Intervallic Structure Resolution
Structure and Function of French Sixths
Intervallic Structure Resolution French Sixths and Supertonics Seventh Flat-Five Chords and French Sixths
Structure and Function of Italian Sixths
Intervallic Structure Resolution
More on Augmented Sixths
Popular Genres Alternative Origin: the #4
Chapter Review Anthology References Self-Test Exercises
Chapter 17 Upper-Partial Chords: Ninths, Elevenths, and Thirteenths
Characteristics of Upper-Partial Chords Ninth Chords
Diatonic Ninths Ninth Factors Major Ninths and Dominant Ninths Hybrid Structures Add 9 Chords
Eleventh Chords
Dominant Elevenths and 4–3 Suspensions The “Sus 4” Symbol in Popular Music Augmented Eleventh Chords Minor Eleventh Chords 9,11 Chords Elevenths on Other Scale Degrees
Thirteenth Chords
Add 9, Sus 4, and Add 6 Chords
General Remarks on Upper-Partial Chords
Other Scale Degrees Symbols in Popular Music
Embedded Harmonic Structures
Triads Sevenths Implications
Inversions of Ninths, Elevenths, and Thirteenths
Rerooting and Root Ambiguity
Voice Leading of Upper-Partial Chords
Necessary Chord Factors
Pitch Tendency
Ninths Elevenths Thirteenths Adapting the Rules
Authentic and Appoggiatura Upper-Partial Chords Chapter Review Anthology References Self-Test Exercises
Chapter 18 Stepwise, Mediant, and Tritone Relationships
Cyclic Movement Noncyclic Movement Stepwise Movement
Planing and Parallelism
Mediant Movement Tritone Relationship and Movement Tritones and Augmented Sixths
German Sixths French Sixths Implied Roots
Applications
Chord Identification in Unconventional Root Movements
Chapter Review Anthology References Self-Test Exercises
Chapter 19 Modulation
Establishing a New Key Center Why Modulate? Common-Chord Modulation Pivot-Chord Modulation Chromatic Modulation
Neapolitan Chords Borrowed Pivots in Target Keys
Enharmonic Modulation
Augmented Sixths as Pivots Major-Minor Sevenths Fully Diminished Sevenths Augmented Triads as Pivots
Implied Modulation Static Modulation Common-Tone Modulation Further Remarks on Modulation
Extensive Chromaticism Embedded Structures Harmonic Structures Generated from Melodies Unimplied Roots
Chapter Review Anthology References Self-Test Exercises
Chapter 20 Secundal, Quartal, and Quintal Harmony
The Secundal System
Chords in Seconds Inversions Voicings Multinote Secundal Chords Clusters
The Quartal System
Chords in Fourths Perfect-Perfect Fourths Perfect-Augmented Fourths Augmented-Perfect Fourths Nonfunctional Augmented-Augmented Quartal Chords Voicings Consonance and Dissonance Compound Quartal Chords Inversions Implied Roots Identification of Inversions Analysis of Fourth Chords
The Quintal System
Chords in Fifths Perfect Fifth Dyads Superimposed Fifths Consonant and Dissonant Perfect Fifths Perfect Fifths and Perfect Fifth Anchors
Chapter Review Anthology References Self-Test Exercises
Appendices
A Several Scale Constructions from C B More on Chord Construction and Function
Harmonic Construction and Progression Revisited
C Instruments and Voices
Transposing Instruments Instrument and Voice Ranges
D The Major Scales and the Three Forms of the Minor Scales E Historical Perspective F Common Structures in Common-Practice and Popular Music
Glossary Index
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