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Music Theory for the 21st-Century Classroom
Robert Hutchinson
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Front Matter
Colophon
Acknowledgements
Preface
1
Basic Concepts
1.1
Pitch
1.2
Notation
1.3
Octave Registers
1.4
Accidentals
1.5
Enharmonic Notes
1.6
Practice Exercises
2
Major Scales and Key Signatures
2.1
Half Steps and Whole Steps
2.2
The Major Scale
2.3
Major Key Signatures
2.3.1
Identifying Key Signatures
2.4
Practice Exercises
3
Minor Scales and Key Signatures
3.1
Minor Scales
3.2
Minor Key Signatures
3.3
Scale Degree Names
3.4
Practice Exercises
4
Basics of Rhythm
4.1
Time Signature
4.2
Durational Symbols
4.3
Dots and Ties
4.4
Meter
4.5
Tuplets
4.6
Common Rhythmic Notation Errors
4.7
Practice Exercises
5
Intervals
5.1
Introduction to Intervals
5.1.1
Numeric Size of Interval
5.1.2
Interval Quality: Perfect versus Major/Minor
5.2
How to Identify Perfect, Major, and Minor Intervals
5.3
How to Write Perfect, Major, and Minor Intervals
5.4
Inversion of Intervals Explained
5.5
Augmented and Diminished Intervals
5.6
Practice Exercises
6
Triads
6.1
Introduction to Triads
6.2
Lead-Sheet Symbols
6.3
Inverted Triads
6.3.1
"Slash" Chords
6.4
Analyzing Chords
6.5
Simple “Sus” Chords
6.6
Summary
6.7
Practice Exercises
7
Roman Numerals and Cadences
7.1
Roman Numeral Chord Symbols
7.2
Diatonic Chords in Major
7.3
Diatonic Chords in Minor
7.4
Cadences
7.4.1
Examples of Authentic Cadences
7.4.2
Examples of Plagal Cadences
7.4.3
Examples of Deceptive Cadences
7.4.4
Examples of Half Cadences
7.5
Practice Exercises
8
Seventh Chords
8.1
Introduction to Seventh Chords
8.2
The IV/5 “sus” chord
8.3
Roman Numerals of Diatonic Seventh Chords
8.4
Practice Exercises
9
Harmonic Progression and Harmonic Function
9.1
The Circle of Fifths Progression
9.2
Harmonic Rhythm
9.3
Shorter Progressions from the Circle of Fifths
9.3.1
II-V-I
9.3.2
VI-II-V-I
9.3.2.1
vi-ii-V-I
9.3.2.2
I-vi-ii-V
9.3.2.3
ii-V-I-vi
9.3.3
III-VI-II-V
9.4
Harmonic Function
9.4.1
The Harmonic Flowchart
9.4.2
Tonic-Dominant-Tonic Progression
9.4.3
Tonic-PreDominant-Dominant-Tonic Progression
9.4.4
The Tonic-Tonic Prolongation-PreDominant-Dominant Progression
9.4.4.1
I–vi–IV–V
9.5
Exceptions Created by Harmonic Sequences
9.6
The Subtonic VII Chord in Popular Music
9.7
The Best-Seller Progression
9.8
The i–VII–VI–VII Progression
9.9
Practice Exercises
10
Non-Chord Tones
10.1
Introduction to Non-Chord Tones
10.2
Passing Tones
10.3
Neighbor Tones
10.4
Appoggiatura
10.5
Escape Tone
10.6
Double Neighbor
10.7
Anticipation
10.8
Pedal Point
10.9
Suspension
10.10
Retardation
10.11
Incomplete Neighbor
10.12
Practice Exercises
11
Melodic Analysis
11.1
Motive
11.2
Melodic Alteration
11.2.1
Inversion
11.2.2
Intervallic Change
11.2.3
Augmentation and Diminution
11.2.4
Rhythmic Change
11.2.5
Ornamentation
11.2.6
Extension
11.2.7
Retrograde
11.3
Fragment
11.4
Phrase
11.5
Subphrase
11.6
Practice Exercises
12
Form in Popular Music
12.1
Verse-Chorus Form
12.2
AABA Form
12.3
ABAC Form
12.4
The 12-Bar Blues
12.5
Harmonically Closed and Open Sections
12.6
Practice Exercises
13
Phrases in Combination
13.1
The Perfect Authentic Cadence
13.2
The Sentence
13.3
The Period
13.3.1
Conclusiveness of Cadence
13.3.2
Examples of the “Less Conclusive-More Conclusive” Cadential Formula
13.3.3
Antecedents and Consequents
13.3.4
Parallel and Contrasting Periods
13.3.5
Repeated Phrase
13.4
The Asymmetrical Period
13.5
The Double Period
13.5.1
Repeated Period
13.6
Phrase Groups and Phrase Chains
13.7
The Elision
13.8
Summary of Phrases in Combination
13.9
Practice Exercises
14
Accompanimental Textures
14.1
Texture
14.2
Chorale Texture
14.3
Arpeggiated Accompaniments
14.3.1
Arpeggios
14.3.2
Alberti Bass
14.4
Block Chord Accompaniments
14.4.1
The “1 (2) &” Rhythm
14.4.2
The “Barbara Ann” Rhythm
14.4.3
Repeated 8th-note Chords
14.4.4
Repeated Quarter-note Chords
14.5
Afterbeats and Offbeats
14.5.1
Afterbeats
14.5.2
Offbeats
14.5.2.1
Polka
14.5.2.2
Reggae
14.6
The 3–2 Son Clave
14.6.1
The 3+3+2 Rhythm
14.6.1.1
Habanera and Reggaeton
14.6.2
3+3+3+3+2+2
14.6.3
8 Groups of 3 Plus 4 Groups of 2
14.6.1
Other Combinations of 3s and 2s
14.7
Distinctive Bass Lines
14.7.1
Distinctive Guitar Riffs
15
Creating Contrast Between Sections
15.1
The Elements of Music
15.2
Mozart,
Eine kleine Nachtmusik
, K. 525, II.
15.3
“Rude” by MAGIC!
16
Figured Bass
16.1
Historical Context
16.2
Figured Bass Inversion Symbols
16.3
The Cadential Six-Four Chord
16.4
Other Occurrences of Six-Four Chords
16.5
Additional Information
16.6
Practice Exercises
17
Secondary Dominant Chords
17.1
Examples with Secondary Dominants
17.2
Tonicization
17.3
Secondary Dominants in Major and Minor
17.4
Analyzing Secondary Dominants
17.5
Writing Secondary Dominants
17.6
Irregular Resolutions of Secondary Chords
17.7
Practice Exercises
18
Secondary Diminished Chords
18.1
Secondary Diminished Chords
18.2
Secondary Diminished Chords in Major and Minor
18.3
Analyzing Secondary Diminished Chords
18.4
Writing Secondary Diminished Chords
18.5
Practice Exercises
19
Mode Mixture
19.1
Mode Mixture
19.2
Harmonization of Borrowed Scale Degrees
19.3
Analyzing and Writing Borrowed Chords
19.4
The Deceptive Cadence with ♭
\(\left.\text{VI}\right.\)
19.5
The Picardy 3rd
19.6
Practice Exercises
20
The Neapolitan Chord
20.1
The Neapolitan Chord
20.2
Examples of the Neapolitan Chord
20.3
Practice Exercises
21
Augmented Sixth Chords
21.1
Augmented Sixth Chords
21.2
Types of Augmented Sixth Chords
21.3
Analyzing Augmented Sixth Chords
21.4
Lead-Sheet Analysis of Augmented Sixth Chords
21.5
Examples with Augmented Sixth Chords
21.5.1
The Italian Augmented Sixth Chord
21.5.2
The French Augmented Sixth Chord
21.5.3
The German Augmented Sixth Chord
21.5.4
The Enharmonic German Sixth
21.6
Distingushing Between Chromatic Harmonies
21.7
Descending Chromatic Bass Lines
21.8
Chromatic Pre-Dominant Chords
21.9
Practice Exercises
22
Modulation
22.1
Modulation
22.2
Tonicization versus Modulation
22.3
Key Relationships
22.4
Modulations with Diatonic Pivot Chords
22.4.1
Determining Common Chords Between Keys
22.4.2
Harmonic Functions of Diatonic Pivot Chords
22.5
How to Recognize a Key After a Modulation
22.6
Modulations with Chromatic Pivot Chords
22.6.1
Secondary Common Chord
22.6.2
Borrowed Common Chord
22.6.3
Neapolitan Common Chord
22.6.4
Augmented Sixth Common Chord
22.7
Modulations Without Pivot Chords
22.7.1
Direct Modulation
22.7.2
Common-Tone Modulation
22.7.2.1
Chromatic Mediants
22.7.3
Sequential Modulation
22.8
Practice Exercises
23
Enharmonic Modulation
23.1
Enharmonic Modulation
23.2
The V7 and Ger+6 as Pivot Chords
23.3
The Fully Diminished Seventh as Pivot Chord
23.4
Practice Exercises
24
Binary and Ternary Forms
24.1
Binary and Ternary Form
24.2
Sectional versus Continuous
24.3
Balanced Binary
24.4
Rounded Binary
24.5
Simple Binary
24.6
Binary Principle
24.7
Ternary Form
24.7.1
Compound Ternary
24.8
Distinguishing between Rounded Binary and Ternary
24.8.1
Written-Out Repeats
24.9
Practice Exercises
25
Sonata and Rondo Forms
25.1
Sonata Form
25.1.1
Diagram of Sonata Form
25.1.2
Sonatina Form
25.1.3
Sonata Principle
25.1.4
The Monothematic Sonata
25.2
The Four Structural Functions in Music
25.2.1
Expository Function
25.2.2
Transitional Function
25.2.3
Developmental Function
25.2.4
Terminative Function
25.3
Rondo Form
25.3.1
Sonata Rondo Form
25.4
Rondo Character
25.5
Standard Forms in a Multimovement Classical Piece
25.6
Practice Exercises
26
Voice Leading Triads
26.1
Voice Leading
26.2
Types of Motion
26.3
Objectionable Parallels
26.4
Voice Ranges
26.5
Rules of Melody
26.6
Rules of Spacing
26.7
Voice Leading Root Position Triads in Four Parts
26.7.1
Bass movement of the interval of a 3rd or 6th
26.7.2
Bass movement of the interval of a 4th or 5th
26.7.3
Bass movement of the interval of a 2nd
26.7.4
Repetition of the bass note
26.8
Voice Leading First-Inversion Triads
26.8.1
Voicing a First Inversion Chord
26.9
Voice Leading Second Inversion Triads
26.10
Special Situations
26.11
Types of Six-Four Chords
26.12
Summary of Doubling Rules for Triads
26.13
Practice Exercises
27
Voice Leading Seventh Chords
27.1
Voice Leading Seventh Chords
27.2
Voice Leading Successive Seventh Chords
27.3
Voice Leading the
\(\left.\text{V}^{7}\right.\)
to
\(\left.\text{I}\right.\)
Progression
27.3.1
Voice Leading
\(\left.\text{I}^{6}_{4}\right.\)
to
\(\left.\text{V}^{7}\right.\)
27.4
The Special Resolution of vii
\(\left.\text{}^{\circ}{}^{7}\right.\)
(and vii
\(\left.\text{}^ø{}^{7}\right.\)
)
27.5
When to Use Seventh Chords
27.6
Practice Exercises
28
Voice Leading With Non-Chord Tones
28.1
Voice Leading With Non-Chord Tones
28.2
Avoiding Objectionable Parallels
28.3
Adding Non-Chord Tones to a Chord Progression
28.4
Practice Exercises
29
Voice Leading Chromatic Harmonies
29.1
Voice Leading Secondary Chords
29.2
Voice Leading Borrowed Chords
29.3
Voice Leading the Neapolitan Chord
29.4
Voice Leading Augmented Sixth Chords
29.5
Practice Exercises
30
Introduction to Counterpoint
30.1
Species Counterpoint
30.2
First Species Counterpoint
30.3
Second Species Counterpoint
30.4
Third Species Counterpoint
30.5
Fourth Species Counterpoint
30.6
Fifth Species Counterpoint
30.7
Invention Expositions
30.7.1
How to Write an Invention Exposition
30.7.2
Altering Themes to Fit the Harmonies
30.7.3
Adding Counterpoint to the Theme Statements
30.8
Fugue Analysis
30.9
Practice Exercises
31
Introduction to Jazz Theory
31.1
Jazz Chord Basics
31.2
Chord Symbol Specifics
31.3
Altered Dominant Seventh Chords
31.4
Chord Labels
31.5
How to Write Jazz Chords
31.6
How to Analyze Jazz Chords
31.7
Jazz Chord Voicings
31.7.1
Guide Tones
31.7.2
Jazz Chord Voicings
31.8
Standard Chord Progressions
31.8.1
II–V–I
31.8.2
III–VI–II–V
31.8.3
The Blues Progression
31.9
Scales
31.9.1
The Blues Scale
31.9.2
The Bebop Scale
31.9.3
Table of Scales
31.10
How to Determine Chord-Scale Relationships
31.10.1
List of Chord-Scale Relationships
31.11
Harmonizing the Bebop Scale
31.12
Practice Exercises
32
Impressionism and Extended Tonality
32.1
Impressionism
32.2
Pandiatonicism
32.3
Quartal, Quintal, and Secundal Harmony
32.4
Polychords
32.5
Practice Exercises
33
Set Theory
33.1
Set Theory
33.1.1
Atonal Music
33.1.2
Integer Notation for Pitches
33.1.3
Integer Notation for Intervals
33.1.4
Pitch-Class Sets
33.2
Normal Form
33.3
Prime Form
33.3.1
Application of Normal Form and Prime Form
33.3.2
Segmentation
33.4
Interval Vector
33.5
Forte Numbers
33.5.1
Z-Relations
33.6
Lists of Set Classes
33.7
Transposition (T
\(\text{}_{n}\)
)
33.8
Inversion (T
\(\text{}_{n}\)
I)
33.8.1
Identifying T
\(\text{}_{n}\)
I for Inversionally-Related Sets
33.9
Practice Exercises
34
Serialism
34.1
Twelve-Tone Technique
34.1.1
Row Forms
34.1.2
Transposition Numbers
34.2
Determining Row Forms
34.3
Writing Row Forms
34.4
Twelve-Tone Matrix
34.5
Row Form Presentation in Music
34.6
Non-Twelve-Tone Serialism
34.7
Practice Exercises
35
Minimalism
35.1
Additive Minimalism
35.2
Phase Shifting
35.3
Homework Assignments
Back Matter
A
Answers to Practice Exercises
B
GNU Free Documentation License
Index
Colophon
Section
26.9
Voice Leading Second Inversion Triads
When a triad is in second inversion, double the fifth (the bass note).
Figure
26.9.1
.
J.S. Bach, Chorale 204, “Wer weiß, wie nahe mir”, BWV 166
