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Music Theory for the 21st-Century Classroom
Robert Hutchinson
Contents
Index
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Contents
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Front Matter
Colophon
Acknowledgements
Preface
1
Basic Concepts
Pitch
Notation
Octave Registers
Accidentals
Enharmonic Notes
Practice Exercises
2
Major Scales and Key Signatures
Half Steps and Whole Steps
The Major Scale
Major Key Signatures
Practice Exercises
3
Minor Scales and Key Signatures
Minor Scales
Minor Key Signatures
Scale Degree Names
Practice Exercises
4
Basics of Rhythm
Time Signature
Durational Symbols
Dots and Ties
Meter
Tuplets
Common Rhythmic Notation Errors
Practice Exercises
5
Intervals
Introduction to Intervals
How to Identify Perfect, Major, and Minor Intervals
How to Write Perfect, Major, and Minor Intervals
Inversion of Intervals Explained
Augmented and Diminished Intervals
Practice Exercises
6
Triads
Introduction to Triads
Lead-Sheet Symbols
Inverted Triads
Analyzing Chords
Simple “Sus” Chords
Summary
Practice Exercises
7
Roman Numerals and Cadences
Roman Numeral Chord Symbols
Diatonic Chords in Major
Diatonic Chords in Minor
Cadences
Practice Exercises
8
Seventh Chords
Introduction to Seventh Chords
The IV/5 “sus” chord
Roman Numerals of Diatonic Seventh Chords
Practice Exercises
9
Harmonic Progression and Harmonic Function
The Circle of Fifths Progression
Harmonic Rhythm
Shorter Progressions from the Circle of Fifths
Harmonic Function
Exceptions Created by Harmonic Sequences
The Subtonic VII Chord in Popular Music
The Best-Seller Progression
The i–VII–VI–VII Progression
Practice Exercises
10
Non-Chord Tones
Introduction to Non-Chord Tones
Passing Tones
Neighbor Tones
Appoggiatura
Escape Tone
Double Neighbor
Anticipation
Pedal Point
Suspension
Retardation
Incomplete Neighbor
Adding Non-Chord Tones to a Chord Progression
Practice Exercises
11
Melodic Analysis
Motive
Melodic Alteration
Fragment
Phrase
Subphrase
Practice Exercises
12
Form in Popular Music
Verse-Chorus Form
AABA Form
ABAC Form
The 12-Bar Blues
Harmonically Closed and Open Sections
Practice Exercises
13
Phrases in Combination
The Perfect Authentic Cadence
The Sentence
The Period
The Asymmetrical Period
The Double Period
Phrase Groups and Phrase Chains
The Elision
Summary of Phrases in Combination
Practice Exercises
14
Accompanimental Textures
Texture
Chorale Texture
Arpeggiated Accompaniments
Block Chord Accompaniments
Afterbeats and Offbeats
The 3–2 Son Clave
Distinctive Bass Lines
15
Creating Contrast Between Sections
The Elements of Music
Mozart,
Eine kleine Nachtmusik
, K. 525, II.
“Rude” by MAGIC!
16
Figured Bass
Historical Context
Figured Bass Inversion Symbols
The Cadential Six-Four Chord
Other Occurrences of Six-Four Chords
Additional Information
Practice Exercises
17
Secondary Dominant Chords
Examples with Secondary Dominants
Tonicization
Secondary Dominants in Major and Minor
Analyzing Secondary Dominants
Writing Secondary Dominants
Irregular Resolutions of Secondary Chords
Practice Exercises
18
Secondary Diminished Chords
Secondary Diminished Chords
Secondary Diminished Chords in Major and Minor
Analyzing Secondary Diminished Chords
Writing Secondary Diminished Chords
Practice Exercises
19
Mode Mixture
Mode Mixture
Harmonization of Borrowed Scale Degrees
Analyzing and Writing Borrowed Chords
The Deceptive Cadence with ♭
VI
The Picardy 3rd
Practice Exercises
20
The Neapolitan Chord
The Neapolitan Chord
Examples of the Neapolitan Chord
Practice Exercises
21
Augmented Sixth Chords
Augmented Sixth Chords
Types of Augmented Sixth Chords
Analyzing Augmented Sixth Chords
Lead-Sheet Analysis of Augmented Sixth Chords
Examples with Augmented Sixth Chords
Distingushing Between Chromatic Harmonies
Descending Chromatic Bass Lines
Chromatic Pre-Dominant Chords
Practice Exercises
22
Modulation
Modulation
Tonicization versus Modulation
Key Relationships
Modulations with Diatonic Pivot Chords
How to Recognize a Key After a Modulation
Modulations with Chromatic Pivot Chords
Modulations Without Pivot Chords
Practice Exercises
23
Enharmonic Modulation
Enharmonic Modulation
The V7 and Ger+6 as Pivot Chords
The Fully Diminished Seventh as Pivot Chord
Practice Exercises
24
Binary and Ternary Forms
Binary and Ternary Form
Sectional versus Continuous
Balanced Binary
Rounded Binary
Simple Binary
Binary Principle
Ternary Form
Distinguishing between Rounded Binary and Ternary
Practice Exercises
25
Sonata and Rondo Forms
Sonata Form
The Four Structural Functions in Music
Rondo Form
Rondo Character
Standard Forms in a Multimovement Classical Piece
Practice Exercises
26
Voice Leading Triads
Voice Leading
Types of Motion
Objectionable Parallels
Voice Ranges
Rules of Melody
Rules of Spacing
Voice Leading Root Position Triads in Four Parts
Voice Leading First-Inversion Triads
Voice Leading Second Inversion Triads
Special Situations
Types of Six-Four Chords
Summary of Doubling Rules for Triads
Practice Exercises
27
Voice Leading Seventh Chords
Voice Leading Seventh Chords
Voice Leading Successive Seventh Chords
Voice Leading the
V
7
to
I
Progression
The Special Resolution of vii
∘
7
(and vii
ø
7
)
When to Use Seventh Chords
Practice Exercises
28
Voice Leading With Non-Chord Tones
Voice Leading With Non-Chord Tones
Avoiding Objectionable Parallels
Adding Non-Chord Tones to a Chord Progression
Practice Exercises
29
Voice Leading Chromatic Harmonies
Voice Leading Secondary Chords
Voice Leading Borrowed Chords
Voice Leading the Neapolitan Chord
Voice Leading Augmented Sixth Chords
Practice Exercises
30
Introduction to Counterpoint
Species Counterpoint
First Species Counterpoint
Second Species Counterpoint
Third Species Counterpoint
Fourth Species Counterpoint
Fifth Species Counterpoint
Invention Expositions
Fugue Analysis
Practice Exercises
31
Introduction to Jazz Theory
Jazz Chord Basics
Chord Symbol Specifics
Altered Dominant Seventh Chords
Chord Labels
How to Write Jazz Chords
How to Analyze Jazz Chords
Jazz Chord Voicings
Standard Chord Progressions
Scales
How to Determine Chord-Scale Relationships
Harmonizing the Bebop Scale
Practice Exercises
32
Impressionism and Extended Tonality
Impressionism
Pandiatonicism
Quartal, Quintal, and Secundal Harmony
Polychords
Practice Exercises
33
Set Theory
Set Theory
Normal Form
Prime Form
Interval Vector
Forte Numbers
Lists of Set Classes
Transposition (T
n
)
Inversion (T
n
I)
Practice Exercises
34
Serialism
Twelve-Tone Technique
Determining Row Forms
Writing Row Forms
Twelve-Tone Matrix
Row Form Presentation in Music
Non-Twelve-Tone Serialism
Practice Exercises
35
Minimalism
Additive Minimalism
Phase Shifting
Homework Assignments
Back Matter
A
Answers to Practice Exercises
B
GNU Free Documentation License
Index
Colophon
Authored in PreTeXt
🔗
Section
35.3
Homework Assignments
🔗
Click
here to download the first homework assignment for this chapter.
🔗
Click
here to download the second homework assignment for this chapter.
🔗
Click
here to download the Unit 12 Practice Test.