Descripciones mejoradas de Syndetics:

Elementary Acoustics and the Properties of Sound, Music Notation, Intervals and Scales, Chords, Symbolization, Expression Marks and Foreign-Language Terms, Tonality and Key Feeling, Melody Writing, Four-Part Vocal Texture (SATB), Chord Connection, Chord Choice, Harmonizing a Melody, Nonharmonic Tones, Seventh and Ninth Chords, Altered Chords and Chromaticism, Solving Figured Bass, Analysis and Score Reading, Foreign-Language Names for Orchestral Instruments, Range and Transposition of Orchestral Instruments, Homophonic Forms. Also includes Illustrations, Diagrams, Review Questions, Exercises, Bibliography, and Full Index.

Tabla de contenidos provista por Syndetics

• Preface(p. xi)
• Introduction(p. xiii)
• I. Notation, Terminology, and Basic Theory
• Elementary Acoustics and the Properties of Sound(p. 3)
• Vibrating Strings(p. 4)
• Vibrating Air Columns(p. 6)
• Vibrating Bars, Plates, and Membranes(p. 8)
• Music Notation(p. 10)
• The Two Axes: Time and Pitch(p. 10)
• Rhythm: Note Values and Rests(p. 10)
• Dots and Ties(p. 12)
• Meter, Beat, Tempo(p. 13)
• Time Signatures: Simple and Compound Time(p. 15)
• Artificial Division and Syncopation(p. 17)
• Pitch: Staff, Clef, and Ledger Lines(p. 18)
• Letter Names, Solfege Syllables, and Accidentals(p. 20)
• Octave Designations(p. 22)
• Manuscript Writing and Additional Symbols(p. 23)
• Intervals and Scales(p. 27)
• Basic Intervals: Half Steps and Whole Steps(p. 27)
• Scales: Chromatic, Major, and Minor(p. 28)
• Key Signatures and Circle of Fifths(p. 30)
• Intervals(p. 31)
• Relative, Parallel, and Closely Related Keys(p. 35)
• Medieval Church Modes(p. 36)
• Whole-Tone Scales(p. 38)
• Pentatonic Scales(p. 39)
• Other Scales(p. 39)
• Tuning Systems and Temperament(p. 39)
• Chords(p. 43)
• Consonance and Dissonance(p. 43)
• Triads: Root Position and Inversions(p. 46)
• Seventh Chords and Larger Structures in Superimposed Thirds(p. 47)
• Other Chord Structures (Fourths, Fifths, Seconds, and so on)(p. 48)
• Symbolization(p. 51)
• Basic Symbols and Definitions(p. 51)
• Names of Scale Degrees and Chords(p. 52)
• Figured Bass(p. 52)
• Roman Numeral Chord Symbols: Functional Harmony(p. 55)
• Chord Symbols in Popular Music and Jazz(p. 60)
• Expression Marks and Foreign-Language Terms(p. 63)
• Tempo(p. 63)
• Dynamics(p. 64)
• Style(p. 65)
• Phrasing and Articulation(p. 66)
• Abbreviations(p. 68)
• Foreign Names for Scale Degrees and Keys(p. 69)
• II. Tonal Harmony
• Tonality and Key Feeling(p. 73)
• Tonality(p. 73)
• Key Feeling(p. 78)
• Modulation, Secondary Dominants, and Altered Chords(p. 80)
• Assignments(p. 86)
• Melody Writing(p. 87)
• Small Strophic Forms(p. 88)
• Symmetry and Balance(p. 89)
• Metric Structure(p. 90)
• Melodic Cadences(p. 91)
• Extensions and Irregularities(p. 95)
• Assignments(p. 96)
• Four-Part Vocal Texture (Satb)(p. 97)
• Voice Ranges(p. 98)
• Doubling(p. 98)
• Spacing, Distance, Motion, and Crossing of Parts(p. 99)
• Chord Inversions(p. 101)
• Prohibitions in Four-Part Writing(p. 102)
• Assignments(p. 104)
• Chord Connection(p. 106)
• Principles of Part Writing--Triads in Root Position(p. 107)
• Triads in First Inversion(p. 113)
• Triads in Second Inversion(p. 114)
• Summary of Principles of Chord Connection(p. 115)
• Exercises(p. 116)
• Chord Choice(p. 122)
• Harmonic Cadences(p. 124)
• Selecting the Chords(p. 125)
• Melodic Cadences(p. 130)
• The Bass Line(p. 132)
• The Inner Parts(p. 135)
• Exercises(p. 136)
• Harmonizing A Melody(p. 137)
• Analysis of the Melody(p. 137)
• Harmonizing an Unfigured Bass(p. 139)
• Exercises(p. 141)
• III. Elaboration
• Nonharmonic Tones (Melodic Elaboration)(p. 145)
• Definitions(p. 146)
• Passing Tone(p. 148)
• Neighboring Tone(p. 152)
• Suspension and Anticipation(p. 155)
• Anticipation(p. 161)
• Appoggiatura and Escape Tone(p. 165)
• Pedal, Free Tone, Combinations(p. 169)
• Harmonizations Using Nonharmonic Tones(p. 171)
• Exercises(p. 173)
• Seventh and Ninth Chords (Harmonic Elaboration)(p. 173)
• V[superscript 7] and VII[superscript 7](p. 175)
• II[superscript 7] and IV[superscript 7](p. 181)
• VI[superscript 7], I[superscript 7], and III[superscript 7](p. 185)
• Ninth Chords(p. 187)
• Eleventh and Thirteenth Chords(p. 191)
• Exercises(p. 196)
• Altered Chords and Chromaticism (Tonal Elaboration)(p. 198)
• The Principle of Melodic Alteration(p. 199)
• Raised Tones: Secondary Dominants, Augmented Triads(p. 200)
• Lowered Tones: Lowered Sixth Degree, Neapolitan Chord(p. 203)
• Raised and Lowered Tones: Augmented Sixth Chords the Altered Dominant Chord, other Functions(p. 205)
• Harmonic Alteration(p. 210)
• Remote Modulation(p. 215)
• The Twelve-Tone Scale(p. 223)
• Solving Figured Bass(p. 228)
• Models for Practice(p. 229)
• Exercises(p. 233)
• Analysis and Score-Reading(p. 234)
• Keyboard Style(p. 234)
• Solo Instrument (or Voice) with Accompaniment(p. 240)
• Trios, Quartets and Small Ensembles(p. 242)
• The Full Orchestral Score(p. 244)
• The Analysis of an Extended Work(p. 249)
• Third Movement: C Minor First Rondo Form (ABA)(p. 252)
• Appendix 1 Foreign-Language Names for Orchestral Instruments(p. 253)
• Appendix 2 Range and Transposition of Orchestral Instruments(p. 256)
• Appendix 3 Diagrams of Homophonic Forms(p. 260)
• Appendix 4 Bach Chorales for Analysis(p. 262)
• Bibliography(p. 267)
• Index(p. 269)