About the Companion Website |
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Introduction |
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1 | (8) |
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1 | (5) |
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6 | (3) |
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9 | (90) |
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1 Basic Concepts for Reading, Writing, and Appreciating Music |
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11 | (28) |
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Pitch, Staff, Clef, and Ledger Lines |
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12 | (2) |
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Recognizing Pitches on the Piano Keyboard |
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14 | (1) |
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Accidentals: Sharps, Flats, and Naturals |
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15 | (2) |
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Double Sharps and Double Flats |
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17 | (1) |
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17 | (2) |
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Augmentation and Diminution |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (1) |
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Other Simple Time Signatures |
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23 | (2) |
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25 | (2) |
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Infrequently Used Time Signatures |
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27 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (6) |
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Musical Terms and Symbols |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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36 | (1) |
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37 | (1) |
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37 | (1) |
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37 | (2) |
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39 | (23) |
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39 | (1) |
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40 | (1) |
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41 | (2) |
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43 | (3) |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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The Major-Minor Scale (Mode Mixture) |
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54 | (1) |
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55 | (1) |
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Performing Major and Minor Scales |
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56 | (6) |
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62 | (13) |
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62 | (1) |
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62 | (2) |
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Writing and Singing the "Minor" Modes |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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Writing and Singing the "Major" Modes |
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67 | (4) |
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Other Scales: Pentatonic, Whole-Tone, and Chromatic |
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71 | (4) |
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75 | (24) |
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75 | (3) |
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Identifying the Qualitative Nature of Intervals |
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78 | (1) |
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79 | (3) |
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82 | (3) |
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85 | (1) |
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86 | (1) |
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87 | (2) |
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89 | (1) |
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90 | (1) |
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91 | (1) |
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Consonance and Dissonance |
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92 | (1) |
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93 | (3) |
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96 | (3) |
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99 | (262) |
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5 Triads, Seventh Chords, and Nonharmonic Tones |
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101 | (35) |
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102 | (2) |
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104 | (1) |
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105 | (5) |
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110 | (2) |
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112 | (3) |
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115 | (1) |
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115 | (6) |
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121 | (1) |
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121 | (1) |
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122 | (1) |
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Suspensions and Retardations |
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123 | (1) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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127 | (2) |
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129 | (7) |
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6 Chord Progressions and Sixth Chords |
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136 | (29) |
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Numbering Chords in Major Scales with Roman Numerals |
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136 | (1) |
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Numbering Chords in Minor Scales with Roman Numerals |
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136 | (2) |
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Numbering Diatonic Seventh Chords with Roman Numerals |
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138 | (2) |
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Diatonic Chord Accompaniments |
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140 | (2) |
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142 | (2) |
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144 | (5) |
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149 | (1) |
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Sight-Reading and Transposition |
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150 | (2) |
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Major and Minor Sixth Chords |
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152 | (4) |
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156 | (5) |
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161 | (4) |
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165 | (22) |
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Counterpoint and Polyphony |
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166 | (1) |
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166 | (1) |
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First Species Counterpoint |
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166 | (2) |
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Dramatic Use of First Species Counterpoint |
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168 | (6) |
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Second Species Counterpoint |
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174 | (2) |
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Dramatic Use of Second Species Counterpoint |
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176 | (11) |
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187 | (47) |
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Third Species Counterpoint |
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187 | (3) |
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Dramatic Use of Third Species Counterpoint |
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190 | (5) |
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Fourth Species Counterpoint |
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195 | (2) |
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Dramatic Use of Fourth Species Counterpoint |
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197 | (2) |
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Fifth Species Counterpoint |
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199 | (4) |
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Dramatic Use of Fifth Species Counterpoint |
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203 | (5) |
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208 | (6) |
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214 | (10) |
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224 | (10) |
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9 Chromatically Altered Chords |
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234 | (24) |
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235 | (6) |
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Secondary Functions of the Leading Tone Chord |
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241 | (3) |
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Common Tone Diminished Chords |
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244 | (1) |
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Passing Diminished Chords |
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245 | (3) |
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Neapolitan and Augmented Sixth Chords |
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248 | (4) |
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252 | (6) |
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10 Song Form and Cadences |
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258 | (27) |
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Periods, Phrases, and Cadences |
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259 | (1) |
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260 | (3) |
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263 | (2) |
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265 | (2) |
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267 | (9) |
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276 | (9) |
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11 Modulation and Tonicization |
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285 | (28) |
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Modulation and Tonicization |
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285 | (1) |
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286 | (1) |
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Secondary Dominant Modulation |
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287 | (1) |
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Third Relation Modulation |
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287 | (2) |
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Pivot Tone (Common Tone) Modulation |
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289 | (2) |
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291 | (1) |
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Diminished Seventh Chord Modulation |
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292 | (2) |
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Augmented Sixth Chord Modulation |
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294 | (6) |
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300 | (13) |
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12 Upper-Embellished Chords |
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313 | (48) |
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Ninth, Eleventh, and Thirteenth Chords |
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313 | (3) |
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Dramatic Use of Upper-Embellished Chords |
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316 | (3) |
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319 | (1) |
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Dramatic Use of "Sus" and "Add" Chords |
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319 | (6) |
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325 | (1) |
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Vertical (Harmonic) Tone Groups |
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325 | (2) |
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Horizontal (Melodic) Tone Groups |
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327 | (17) |
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344 | (7) |
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351 | (10) |
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PART THREE THE PERFORMANCE |
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361 | (58) |
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13 Analysis---George Gershwin and Richard Rodgers |
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363 | (13) |
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Music as Drama in Musical Theatre |
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363 | (1) |
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364 | (4) |
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368 | (3) |
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371 | (5) |
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14 Analysis---Leonard Bernstein and Stephen Sondheim |
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376 | (24) |
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377 | (6) |
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383 | (3) |
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"Take Care of This House" |
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386 | (5) |
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"With So Little to Be Sure Of" |
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391 | (9) |
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15 Analysis---Andrew Lloyd Webber, William Finn, and Jason Robert Brown |
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400 | (19) |
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400 | (4) |
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404 | (10) |
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"It's Hard to Speak My Heart" |
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414 | (5) |
Acknowledgments |
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419 | (6) |
Alphabetical List of Musical Theatre Examples |
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425 | (6) |
Bibliography |
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431 | (8) |
Index |
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