Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Keyboard Skills

603 Pages·2012·90.95 MB·English

by  Connie E. Mayfield

THEORY ESSENTIALS

THEORY ESSENTIALS
An Integrated Approach to Harmony, Ear Training, and Keyboard Skills
Connie E. Mayfield
Cerritos College
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Table of Contents
Preface x CHAPTER 4 Minor Scales and Key Signatures
Theoretical Skills 57
Musical Examples xii
Relative Key Signatures 57, Determining Keys 59,
Natural Minor Scales 60, Other Forms of the Minor
Tables xviii Scale 61, Parallel Key Relationships 63,
Scale Degree Names 64, Music for Analysis 65
CHAPTER 1 The Basics of Reading Music Aural Skills 67
Melody 67, Rhythm 69, Rhythms for Practice 71
Theoretical Skills 1
Definition of Theory 1, Music Notation 1, Keyboard Applications 72
Naming Notes 3, The Grand Staff and Ledger Lines 5,
CHAPTER 5 Triads and Figured Bass
Octave Identification 7, Half and Whole Steps 7,
Accidentals 8, Enharmonic Names 10, Theoretical Skills 73
Music Manuscript 1 1 , Music for Analysis 12 Chords and Triads 73, Qualities of Triads 7 4,
Aural Skills 13 Identifying Triad Qualities 79, Inversion of Triads 80,
Melody 13, Rhythm 13, Pulse and Meter 14, Figured Bass 81 , Music for Analysis 84
Rhythms for Practice 16 Aural Skills 85
Keyboard Applications 17 Minor Scales 85, Melody 85, Intervals 86,
Syncopation 87, Rhythms for Practice 88
CHAPTER 2 Major Scales and Key Signatures
Keyboard Applications 89
Theoretical Skills 18 Looking Ahead 90
Tonality 18, Major Scales 18, Introduction to Intervals 20,
Key Signatures with Sharps 21, Key Signatures with CHAPTER 6 The Basics of Diatonic Harmony
Flats 23, Identifying Keys and Key Signatures 25,
Theoretical Skills 91
Music for Analysis 27
Diatonic Triads in Major Keys 91, Roman Numeral Analysis
Aural Skills 29 in Major Keys 92, Diatonic Triads in Minor Keys 93,
Melody 29, Rhythm 31, Rests 32, Dots and Ties 33, Roman Numeral Analysis in Minor Keys 94,
Rhythms for Practice 35 Authentic Cadences and Root Movement by Filth 95,
Keyboard Applications 36 Diatonic Progressions in Major Keys 97,
Looking Ahead 37 Diatonic Progressions in Minor Keys 97,
Music for Analysis 10 0
CHAPTER 3 Intervals Aural Skills 101
Melody 101, Rhythm 102, Rhythms for Practice 104
Theoretical Skills 38
Intervals 38, Intervals of the Major Scale 39, Keyboard Applications 10 5
Minor Intervals 41, Altering Perfect Intervals 42,
CHAPTER 7 Part Writing with Root-Position
Altering Major and Minor Intervals 43,
Chords
Inversion of Intervals 45, Creating Descending Intervals 47,
Compound Intervals 48, Music for Analysis 49 Theoretical Skills 106
Aural Skills 50 Introduction to Four-Voice Harmony 10 6,
Melody 50, Intervals 50, Rhythm 51, Upbeats 53, Motion between Voices 107, Doubling and Structure 108,
f
Dotted Quarter Notes in Time 53, Vocal Ranges 1 12, Part Writing with Repeated
Rhythms for Practice 55 Chords 112, Additional Part-Writing Considerations 115,
Keyboard Applications 56 Music for Analysis 1 1 8
Aural Skills 119
Melody 119, Chords 120, Rhythm 121,
Rhythms for Practice 123 II
Keyboard Applications 124
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Table of Contents
CHAPTER 8 Root Movement by Fifth CHAPTER 13 The Leading-Tone Triad and Other
First-Inversion Practices
Theoretical Skills 125
Part Writing with Root Movement by Filth 125, Theoretical Skills 196
Half Cadences 1 30, The Subdominant Chord 1 31, The Leading-Tone Triad 196, Imperfect Authentic
Music for Analysis 1 35 Cadences 198, Consecutive First- Inversion Triads 199,
Aural Skills 136 Music for Analysis 204
Melody 136, Chords 1 36, Rhythms for Practice 1 37, Aural Skills 205
Introduction to Two-Part Rhythms 138, Melody 205, Chords 206, Harmony 206,
Two-Part Rhythms for Practice 1 39 Rhythms for Practice 207
Keyboard Applications 140 Keyboard Applications 208
Looking Ahead 141
CHAPTER 14 Introduction to Simple Nonharmonic
CHAPTER 9 Root Movement by Second Tones
Theoretical Skills 142 Theoretical Skills 209
Part Writing with Root Movement by Second 142, Nonharmonic Tones 209, Passing Tones 209,
Deceptive Cadences 146, Irregular Doubling in Deceptive Neighbor Tones 211, Changing Tones 214,
Cadences 148, Music for Analysis 150 Music for Analysis 215
Aural Skills 151 Aural Skills 217
Melody 151, Chords 152, Melody 217, Harmony 218, Rhythm 218,
Two-Part Rhythms for Practice 152 Rhythms for Practice 220
Keyboard Applications 154 Keyboard Applications 221
CHAPTER 10 Root Movement by Third and Other CHAPTER 1S Appoggiaturas, Escape Tones, and
Progressions Pedal Tones
Theoretical Skills 155 Theoretical Skills 222
Part Writing with Root Movement by Third 155, Appoggiaturas 222, Escape Tones 223, Pedal Tones 224,
The Subtonic Triad 157, Truncated Progressions 157, Music for Analysis 226
Retrogressions 159, Music for Analysis 161 Aural Skills 227
Aural Skills 163 Alto Clef 227, Harmony 228, Rhythms for Practice 228
Melody 163, Chords 164, Rhythms for Practice 165 Keyboard Applications 230
Keyboard Applications 166
CHAPTER 16 Suspensions, Retardations, and
CHAPTER 11 Second-Inversion Chords Anticipations
Theoretical Skills 167 Theoretical Skills 231
Triads in Second Inversion 167, Suspensions 231, Retardations 235, Anticipations 236,
Cadential Six-Four Chords 167, Review of Nonharmonic Tones 237,
Additional Uses for Cadential Six-Four Chords 170, Music for Analysis 239
Passing Six-Four Chords 171, Pedal Six-Four Chords 172,
Aural Skills 240
Arpeggiated Six-Four Chords 173, Music for Analysis 174
Alto Clef 240, Harmony 241, Rhythm 241,
Aural Skills 176 Rhythms for Practice 242
Melody 176, Chords 176, Rhythm 177, Keyboard Applications 243
Rhythms for Practice 179
Keyboard Applications 1 80 CHAPTER 17 Introduction to Seventh Chords
Theoretical Skills 244
CHAPTER 12 First-Inversion Chords
Seventh Chords 244, Inversion of Seventh Chords 246,
Theoretical Skills 181 Diatonic Seventh Chords in Major Keys 249,
Triads in First Inversion 181, Neutral Structure 185, Diatonic Seventh Chords in Minor Keys 250,
Other Structures 1 89, Music for Analysis 191 Structure in Seventh Chords 251, Music for Analysis 253
Aural Skills 192 Aural Skills 255
Melody 192, Chords 192, Rhythms for Practice 194 Alto Clef 255, Harmony 256, Rhythms for Practice 256,
Keyboard Applications 195 Two-Part Rhythms for Practice 257
Keyboard Applications 259
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Table of Contents
CHAPTER 18 Dominant and Leading-Tone CHAPTER 22 Secondary Dominants of the
Seventh Chords Dominant
Theoretical Skills 260 Theoretical Skills 315
The Dominant Seventh Chord 260, Introduction to Secondary Dominants of the Dominant 315,
Part-Writing Considerations 261 , Altered Scale Degrees 317, Position in the Chord
The Leading-Tone Seventh Chord 263, Progression 318, Voice-Leading Considerations 320,
Music for Analysis 268 Music for Analysis 322
Aural Skills 269 Aural Skills 323
Melody 269, Chords 270, Rhythms lor Practice 271, Intervals 323, Melody 323, Chords 324, Harmony 324,
Two-Part Rhythms for Practice 272 Rhythms for Practice 325, Two-Part Rhythms for
Keyboard Applications 273 Practice 326
Looking Ahead 274 Keyboard Applications 327
CHAPTER 19 Additional Seventh Chords CHAPTER 23 Secondary Dominants of the
Supertonic and Subdominant
Theoretical Skills 275
The Supertonic Seventh Chord 275, Theoretical Skills 328
The Subdominant Seventh Chord 276, Introduction to Secondary Dominants of the Supertonic and
The Median! and Submedian! Seventh Chords 277, the Subdominant 328, Altered Scale Degrees 331,
Ninth and Thirteenth Chords 278, Music lor Analysis 281 Progressions and Voice Leading 333, Music lor
Analysis 337
Aural Skills 283
Tenor Clef 283, Harmony 284, Rhythm 284, Aural Skills 339
Rhythms lor Practice 285 Intervals 339, Melody 339, Chords 340, Harmony 340,
Rhythm 341 , Rhythms for Practice 342
Keyboard Applications 287
Keyboard Applications 343
CHAPTER 20 Diatonic Modulation
CHAPTER 24 Secondary Dominants of the
Theoretical Skills 288
Mediant and Submediant
Introduction to Modulation 288,
Closely Related Keys 289, Finding Common Chords 290, Theoretical Skills 344
Diatonic Modulation 292, Establishing a Key 293, Introduction to Secondary Dominants of the Median! and
Part Writing Diatonic Modulations 295, Submedian! 344, Altered Scale Degrees 346,
Music for Analysis 297 Progressions and Voice Leading 348, Secondary Dominant
Aural Skills 298 Sequence 350, Music for Analysis 353
Melody 298, Rhythms lor Practice 299, Aural Skills 355
Two-Part Rhythms for Practice 300 Intervals 355, Melody 355, Chords 356, Harmony 356,
Keyboard Applications 301 Rhythms for Practice 357
Keyboard Applications 358
CHAPTER 21 Introduction to Secondary
Dominants CHAPTER 25 Chromatic Modulation
Theoretical Skills 302 Theoretical Skills 359
Review of Dominant-Type Chords 302, Modulation Using Secondary Dominants 359,
Resolution of Dominant-Type Chords 302, Method 1 360, Method 2 362, Method 3 363,
Tonicization and Chromatic Chords 304, Music lor Analysis 365
Secondary Dominants 306, Music for Analysis 308 Aural Skills 368
Aural Skills 31 0 Melody 368, Harmony 369, Rhythm 370,
Solfege lor Altered Tones 31 0, Rhythm 31 1, Rhythms lor Practice 371
Rhythms for Practice 31 2 Keyboard Applications 372
Keyboard Applications 314
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Table of Contents
CHAPTER 26 Borrowed Chords Aural Skills 432
Chords 432, Harmony 432, Rhythm 433,
Theoretical Skills 373
Two-Part Rhythms for Practice 434
Mode Mixture 373, Altered Scale Degrees and Chord
Keyboard Applications 436
Qualities 374 , Borrowed Supertonic and Subdominant
Chords 375, Borrowed Submedian! Chords 377,
CHAPTER 31 Enharmonic Modulation with
Borrowed Leading-Tone Seventh Chords 378,
German Sixths
Music for Analysis 380
Aural Skills 381 Theoretical Skills 437
Intervals 381, Melodies 381, Chords 382, Harmony 382, Introduction to Enharmonic Modulation 437
Two-Part Rhythms for Practice 383 Aural Properties of the German Sixth Chord '437,
Keyboard Applications 384 Modulation Using V7 and the German Sixth 438,
Modulation Using Secondary Dominants 441,
CHAPTER 27 Neapolitan Triads and Other Music for Analysis 444
Altered Chords Aural Skills 446
Melody 446, Harmony 447,
Theoretical Skills 385
Two-Part Rhythms for Practice 448
The Neapolitan Triad 385, Progressions and Voice
Keyboard Applications 449
Leading 388, Chromatic Augmented Triads 389,
Minor Dominants 392, Music for Analysis 393
CHAPTER 32 Enharmonic Modulation with Fully
Aural Skills 394
Diminished Seventh Chords
Intervals 394, Chords 394, Harmony 395,
Two-Part Rhythms for Practice 396 Theoretical Skills 450
Keyboard Applications 397 Symmetrical Properties of the Fully Diminished Seventh
Chord 450, Enharmonic Modulation with vii07
CHAPTER 28 Additional Modulation Techniques Chords 454, Enharmonic Common-Tone Modulation 458
Music for Analysis 459 '
Theoretical Skills 398
Aural Skills 461
Modulation Using Mode Mixture 398, Modulation Using
Melody 461, Harmony 461, Rhythm 462,
Neapolitan Triads 401, Modulation by Common
Rhythms for Practice 464
Tone 402, Music for Analysis 404
Keyboard Applications 465
Aural Skills 407
Melody 407, Harmony 407, Rhythm 408,
CHAPTER 33 Introduction to Modes
Rhythms for Practice 409
Keyboard Applications 41 0 Theoretical Skills 466
Overview of Modes 466, The Modes in the Middle
CHAPTER 29 Introduction to Augmented Sixth Ages 466, The Modes in the Renaissance 469,
Chords The Modes in the Twentieth Century 470,
Constructing the Modes 470, Modal Harmony 474 ,
Theoretical Skills 411
Music for Analysis 475
Augmented Sixth Chords 411, Identifying Augmented Sixth
Aural Skills 477
Chords 413, Music for Analysis 416
Singing Modes 477, Melody 478, Rhythm 479,
Aural Skills 417
Rhythms for Practice 480
Intervals 417, Melodies 417, Chords 418,
Keyboard Applications 481
Two-Part Rhythms for Practice 41 8
Keyboard Applications 420 CHAPTER 34 Impressionist Techniques
CHAPTER 30 Augmented Sixth Chords in Context Theoretical Skills 482
Impressionism 482, Parallelism 482,
Theoretical Skills 421
The Modes in Impressionism 484, Other Scales 486,
Augmented Sixth Chord Types 421,
Music for Analysis 489
Voice Leading in Augmented Sixth Chords 425,
Aural Skills 491
The Enharmonic German Sixth 428, Music for
Melody 491, Harmony 492, Rhythm 493,
Analysis 430
Rhythms for Practice 494
Keyboard Applications 495
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Table of Contents
CHAPTER 35 Jazz Theory CHAPTER 40 Avant-Garde and Electronic Music
Theoretical Skills 496 Theoretical Skills 560
Introduction to Jazz Concepts 496, The Avant-Garde Period 560, Indeterminacy and Aleatoric
Scales and Modes 496, Additional Scales 498, Music 560, New Systems of Notation 566,
Jazz Harmony 500, Tritone Substitution 502, A History of Electronic Instruments 566,
Music for Analysis 504 Electronic and Electroacoustic Music 568,
Aural Skills 505 Music for Analysis 572
Harmony 505, Rhythm 506, Rhythms for Practice 507 Aural Skills 573
Keyboard Applications 508 Melody 573, Two-Part Rhythms for Practice 574
Keyboard Applications 575
CHAPTER 36 Techniques of Nontonal Music
Composer Index 577
Theoretical Skills 509
Atonality 509, The Octatonic Scale 509,
Index 581
Other Scales 512, Pandiatonicism 513,
Other Compositional Techniques 514,
Music for Analysis 517
Aural Skills 518
Fixed-Do Solfege 518, Melody 519, Rhythm 519,
Rhythms for Practice 521
Keyboard Applications 522
CHAPTER 37 Nontertian Harmonic Techniques
Theoretical Skills 523
Quartal Harmony 523, Secunda! Harmony, Clusters, and
Other Interval Music 525, Microtones and Sound
Mass 527, Music for Analysis 530
Aural Skills 531
Melody 531, Harmony 531, Rhythm 532,
Rhythms for Practice 532
Keyboard Applications 534
CHAPTER 38 Pitch Class Set Theory
Theoretical Skills 535
Introduction to Set Theory 535, Naming Sets 537,
Inversion of Sets 539, Interval Vectors 540,
Music for Analysis 542
Aural Skills 544
Melody 544, Rhythm 545, Rhythms for Practice 546
Keyboard Applications 547
CHAPTER 39 Serialism
Theoretical Skills 548
Twelve-Tone Technique 548, The Tone Row 549,
The Matrix 551, Analyzing Twelve-Tone Music 553,
Music for Analysis 556
Aural Skills 557
Melody 557, Two-Part Rhythms for Practice 558
Keyboard Applications 559