The musician's guide to theory and analysis / Jane Piper Clendinning, Elizabeth West Marvin.

Format:

Book

Author/Creator:

Clendinning, Jane Piper, author.

Marvin, Elizabeth West, 1955- author.

Language:

English

Subjects (All):

Music theory.

Musical analysis.

Genre:

Textbooks.

Physical Description:

xxiii, 911, A-118 pages : illustrations ; 27 cm

Edition:

Fourth edition.

Place of Publication:

New York, NY : W. W. Norton & Company, Inc., [2021]

Summary:

"The Musician's Guide covers every topic commonly taught in the music theory curriculum, from fundamentals to post-tonal theory with pathbreaking pedagogy. With the textbook, workbook, anthology, and two aural skills volumes, plus a wealth of online resources, it is the most comprehensive resource available for music theory. All Norton theory texts are supported by online Know It? Show It! pedagogy, combining video tutorials and formative assessments to prepare students for assignments in the comprehensive workbook. As professors have asked to expand the canon, we've added additional selections by women and composers of color, as well as more popular music"-- Provided by publisher.

Contents:

Machine generated contents note: pt. I Elements of Music

ch. 1 Pitch and Pitch Class

Introduction to Pitch: Letter Names

Pitches and Pitch Classes

The Piano Keyboard

White Keys

Black Keys: Flats and Sharps

Enharmonic Equivalents

Intervals: Half Steps and Whole Steps

Double Flats and Sharps

Reading Pitches from a Score

Staff Notation

Treble Clef

Bass Clef

C Clefs and Other Clefs

Naming Registers

Ledger Lines

Writing Pitches on a Score

Dynamic Markings

Style Periods

Did You Know?

Terms You Should Know

Questions for Review

ch. 2 Simple Meters

Dividing Musical Time

Beat, Beat Division, and Meter

Conducting Patterns

Tempo

Rhythm and Meter

Rhythmic Notation for Simple Meters

Note Values

Meter Signatures

Counting Rhythms in Simple Meters

Beat Subdivisions

Stems, Flags and Beaming

Counting Rests and Dots

Slurs and Ties

Metric Accents and Syncopation

Hemiola

Anacrusis Notation

Meter and Performance

ch. 3 Pitch Collections, Scales, and Major Keys

Chromatic and Diatonic Collections

Scales: Ordered Pitch-Class Collections

Scale Degrees

Spelling Major Scales

Spelling Chromatic Scales

Major Keys

Key Signatures

The Circle of Fifths

Identifying a Key from a Key Signature

Writing Key Signatures

Identifying the Key of a Piece

Scale-Degree Names

The Major Pentatonic Scale

Implications for Performance

ch. 4 Compound Meters

Hearing Compound Meters

Rhythmic Notation in Compound Meters

The Dotted-Quarter Beat Unit

Subdividing the Beat

Beat Units Other Than the Dotted-Quarter Note

Syncopation

Mixing Beat Divisions and Groupings

Triplets

Duplets, Quadruplets, and Polyrhythm

Hemiola in Compound Meter

Metric Accent and Implications for Performance

Terms You Should Know?

ch. 5 Minor Keys and the Diatonic Modes

Parallel Keys: Shared Tonic

Relative Keys

Relative Minor: Shared Key Signatures

Finding the Relative Minor and Major Keys

Variability in the Minor Scale

The "Forms" of Minor

Identifying the Key of a Musical Passage

Identifying Minor Scale Types

Writing Minor Scales

Scale Degrees in Minor

The Minor Pentatonic Scale

Modes of the Diatonic Collection

The Relative Identification of Modes

The Parallel Identification of Modes

Spelling Modal Scales

Twentieth-Century and Contemporary Modal Practice

ch. 6 Intervals

Combining Pitches

Interval Size

Melodic and Harmonic Intervals

Compound Intervals

Interval Quality

Major, Minor, and Perfect Intervals

Inverting Intervals

Spelling Intervals

Smaller Intervals: 2, 3, and 4

Larger Intervals: 5, 6, and 7

Half Steps and Interval Size

Augmented and Diminished Intervals

Enharmonically Equivalent Intervals

Consonant and Dissonant Intervals

Analyzing Intervals in Music

ch. 7 Triads

Chords and Triads

Triad Qualities in Major Keys

Triad Qualities in Minor Keys

Spelling Triads

By Interval

By the C-Major Method

By Key Signature

Triad Inversion

Figured Bass

Triads in Popular-Music Notation

ch. 8 Seventh Chords

Seventh Chords

Diatonic Seventh Chords in Major Keys

Seventh Chords in Inversion

Diatonic Seventh Chords in Minor Keys

Spelling Seventh Chords

Seventh Chords in Popular Styles

Less Common Seventh Chords

Triads and Seventh Chords in Musical Textures

Arpeggiated Triads and Seventh Chords

Triads and Seventh Chords in Transposing Scores

Seventh Chords and Musical Style

ch. 9 Connecting Intervals in Note-to-Note Counterpoint

Species Counterpoint

Connecting Melodic Intervals

Connecting Harmonic Intervals

Four Types of Contrapuntal Motion

Consonant Harmonic Intervals

Writing Note-to-Note Counterpoint in Strict Style

Beginning and Ending a First-Species Counterpoint

Completing the Middle

ch. 10 Melodic and Rhythmic Embellishment in Two-Voice Composition

Counterpoint in Context

Melodic Embellishment in Second-Species (2:1) Counterpoint

Passing Tones

Consonant Skips

Neighbor Tones

Writing 2:1 Counterpoint

Opening and Closing Patterns

Melodic Considerations

Harmonic Considerations

Further Melodic Embellishment in Third-Species (4:1) Counterpoint'

Writing 4:1 Counterpoint

Rhythmic Displacement in Fourth-Species Counterpoint

Types of Suspensions

Rhythmic Character of Fourth Species

Consonant Suspensions and Breaking Species

Chains of Suspensions

Writing Fourth-Species Counterpoint

Fifth Species and Free Counterpoint

pt. II Diatonic Harmony and Tonicization

ch. 11 From Species to Chorale Style: Soprano and Bass Lines

Note-to-Note Counterpoint In Chorale Style

Contrapuntal Motion

Chordal Dissonance

Characteristics of Bass and Melody Lines

Writing Counterpoint with a Given Line

Melodic Embellishment in Chorale Textures

Passing Tones, Neighbor Tones, and Consonant Skips

Suspensions

ch. 12 The Basic Phrase and Four-Part Writing

The Basic Phrase

Defining the Phrase Model: T-D-T

Establishing the Tonic Area

Cadential Area and Cadence Types

The Notation of Four-Part Harmony

Writing for Voices in Chorale Style

Connecting the Dominant and Tonic Areas

Resolving the Leading Tone in V and V6

Perfect Consonances

Harmonizing a Melody

Writing in Keyboard Style

Harmonizing a Folk Melody with T-D-T

Creating a Simple Accompaniment

Phrase Model Summary

ch. 13 Dominant Sevenths, the Predominant Area, and Realizing Figured Bass

Writing V7

Resolving the Leading Tone and Chordal Seventh

Approaching Perfect Intervals

Writing Dominant Sevenths in Inversion

Expanding the Basic Phrases: T-PD-D-T

Predominant Function: Subdominant and Supertonic Chords

Voice Leading from Predominant to Dominant

Predominant Seventh Chords

Harmonic Function and Principles of Progression

Realizing Figured Bass

ch. 14 Expanding the Basic Phrase

Expanding Harmonic Areas with 6/4 Chords

The Cadential 6/4

The Pedal or Neighboring 6/4

The Arpeggiating 6/4

The Passing 6/4

The Four 6/4 Types

Other Expansions of the Tonic Area

The Subdominant in Tonic Expansions

The Dominant in Tonic Expansions

Contexts for the Submediant (vi or VI)

Embedding PD-D-T within the Tonic Area

Extending the Final Tonic Area

ch. 15 New Cadence Types and Diatonic Root Progressions

New Cadence Types

The Deceptive Cadence and Resolution: V-vi (or V-VI)

The Plagal Cadence and Extension: IV-I (or iv-i)

The Phrygian Cadence: iv6-V

Basic Root Progressions

Root Motion by Descending Fifth

Root Motion by Descending Third

Root Motion by Second

Other Diatonic Harmonies

About Mediant Triads (iii or III)

The Minor Dominant in Minor Keys

Parallel 6/3 Chords

ch. 16 Embellishing Tones

Embellishing a Harmonic Framework

Passing and Neighbor Tones in Four Parts

Suspensions in Four Parts

Suspensions with Change of Bass

Combining Suspensions

Embellishing Suspensions

Retardations

New Types of Neighbor and Passing Tones

Chromatic Neighbor and Passing Tones

Incomplete Neighbors

Double Neighbors

Creating Elaborate Embellishments from Simple Counterpoint

Other Embellishments

Anticipations

Pedal Points

Embellishing Tones in Popular Music

ch. 17 Voice-Leading Chords: vii06, vii07, vii07, and Others

Dominant Substitutes: Leading-Tone Chords

Contexts for the vii06, vii-07, and vii07 Chords

Writing and Resolving vii06

Writing and Resolving vii07, vii07, and Their Inversions

Voice-Leading 4/2 Chords

ch. 18 Phrase Structure and Motivic Analysis

Phrase and Motive

Motives and Motivic Analysis

The Sentence

Phrases in Pairs: The Period

Phrase Diagrams

Parallel and Contrasting Periods

Writing Parallel and Contrasting Periods

Other Period Types

Phrase Rhythm

Phrase Structure and Hypermeter

Linking Phrases

Phrase Expansion

ch. 19 Secondary Dominant and Leading-Tone Chords to V

Intensifying the Dominant

Contents note continued: Secondary Dominants to V

Tonicization and Modulation

Secondary Dominants to V in the Basic Phrase

Spelling Secondary Dominants to V

Writing and Resolving Secondary Dominants to V

Cross Relations

Secondary Leading-Tone Chords to V

Writing and Resolving

Secondary-Function Chords in Dominant Expansions

ch. 20 Tonicizing Scale Degrees Other Than V

Secondary-Function Chords within the Basic Phrase

Identifying Secondary Dominant and Leading-Tone Chords

Secondary-Function Chords in Musical Contexts

Tonicizing Harmonies within a Phrase

Providing a Temporary Harmonic Diversion

Creating Forward Momentum

Evading an Expected Resolution

Text Painting

Spelling Secondary Dominant and Leading-Tone Chords

Resolving Secondary Dominant and Leading-Tone Chords

Irregular and Deceptive Resolutions

ch. 21 Sequences

Identifying Sequences

Descending Sequences

Descending-Fifth Sequences

Pachelbel Sequences

Descending Parallel 6/3 Chords

Ascending Sequences

Ascending-Fifth Sequences

Ascending Parallel 6/3 Chords

Diatonic Sequences with Seventh Chords

Secondary Dominants in Sequences

pt. III Chromatic Harmony and Form

ch. 22 Modulation

Common Pivot-Chord Modulations

Modulation or Tonicization?

Modulation from a Major Key to Its Dominant

Modulation from a Minor Key to Its Relative Major

Locating Modulations

Closely Related Keys

Pivot-Chord and Common-Tone Modulation to Other Keys

From a Minor Key to v

From a Major Key to ii, hi, IV, and vi

Writing a Pivot-Chord Modulation

Modulations Employing Common Tones

Other Modulation Types

Direct Modulations

Modulations Introduced by Secondary Dominants and Leading-Tone Sevenths

Modulations with Diminished Seventh Chords

ch. 23 Binary and Ternary Forms

Binary Form

Phrase Design

Sections

Tonal Structures

Writing Binary-Form Pieces

Simple Ternary Form

Binary Forms as Part of a Larger Formal Scheme

Composite Ternary

Composite Binary

ch. 24 Invention, Fugue, and Baroque Counterpoint

Baroque Melody

Fortspinnung

Compound Melody and Step Progressions

Points of Imitation

Invention and Fugue: The Exposition

The Subject

The Answer and Countersubject

Episodes and Later Expositions

Special Features

Double and Triple Fugues

Stretto

Inversion, Augmentation, Diminution, and Other Subject Alterations

Canon

Vocal Fugues

ch. 25 Variation

Continuous Variations

Formal Organization

Sectional Variations

Themes and Formal Organization

Variation Procedures

Musical Topics

Performing Variations

ch. 26 Modal Mixture and Chromatic Mediants

Harmonic Color and Text Setting

Modal Mixture

The Spelling and Function of Mixture Chords

Tonicizing Mixture Chords

Embellishing Tones

Intonation and Performance

Modal Mixture in Instrumental Music

Modal Mixture and Modulation

Chromatic Mediants

ch. 27 The Neapolitan Sixth and Augmented-Sixth Chords

Chromatic Predominant Chords

The Neapolitan Sixth

Spelling and Voicing

Voice Leading and Resolution

Tonicizing the Neapolitan

Augmented-Sixth Chords

Voice Leading, Spelling, and Resolution

Italian, French, and German Augmented Sixths

Approaches to Augmented-Sixth Chords

Aural Identification and Performance

Less Common Spellings and Voicings

Secondary Augmented-Sixth Chords

Enharmonic Modulation with Augmented-Sixth Chords

ch. 28 Chromatic Harmony and Voice Leading

Chromatic Elaboration of Diatonic Frameworks

Chromatic Sequences

Descending Chromatic Bass Lines

Chromatic Modulation

Modulation with Sequences

Other Chromatic Sequences

Modulation By Common Dyad, Chromatic Inflection, and Enharmonic Respelling

Linear Chromaticism

Chromatic Voice Exchanges and Wedge Progressions

Common-Tone Diminished Seventh and Augmented-Sixth Chords

Chromaticism and Voice-Leading Chords

Intentional Harmonic Ambiguity

ch. 29 Vocal Forms

Three-Part Vocal Forms

Baroque Da Capo Arias

Other Ternary Arias

Recitatives

German Romantic Lieder

Text and Song Structure

Strophic Form

Analysis and Interpretation

Other Vocal Forms and Genres

Modified Strophic Form

Through-Composed Form

French and Spanish Art Songs

Chords with Altered Fifths and Added-Sixth Chords

ch. 30 Sonata, Sonatina, and Concerto

Sonatas and Sonata Form

Classical Sonata Form

The First Large Section: Exposition

The Second Large Section: Development and Recapitulation

Sonata

Sonata Form in the Romantic Era

Increasing Length and Complexity

Key Areas and the Organization of the Exposition

The Development Section

The Recapitulation and Coda

Concerto Form

Performing and Listening to Sonata-Form Movements

ch. 31 Rondo, Sonata-Rondo, and Large Ternary

Five-Part Rondo

Refrain (A section)

Episode (Contrasting Section)

Transition and Retransition

Coda

Seven-Part Rondo and Sonata-Rondo

Large Ternary Form

ch. 32 Popular Music, Jazz, and Blues

Popular Song before 1950

Quaternary Form

Verse-Refrain Form

Harmonic Practices

Tritone Substitutions

The Twelve-Bar Blues

Pentatonic and Blues Scales

Blues Harmonic Plan and Phrase Structure

Popular Song of the 1950s-1980s

New Elements of Form

Harmony and Melody

ch. 33 Recent Popular Music

Analyzing Recent Popular Music

New Formal Sections in Recent Popular Music

Harmonic and Melodic Practices

Harmonic Loops

Melody and Phrase Construction

Popular-Music Harmony and Functional Tonality

Analysis of Rap and Hip-Hop

Other Formal Considerations

Nonrepeating Sectional Forms

Musical Textures and Layers

Comparing Performances

pt. IV The Twentieth Century and Beyond

ch. 34 Modes, Scales, and Sets

Listening to Twentieth-Century Compositions

Pitch-Class Collections and Scales Revisited

Analyzing Mode and Scale Types

Composing with Diatonic Modes

Sets and Subsets

Other Scale Types and Their Subsets

Pentatonic Scales

Whole-Tone Scales

Octatonic Scales

Hexatonic Collections

ch. 35 Rhythm, Meter, and Form in Music after 1900

Asymmetrical Meter

Perceived and Notated Meter

Changing Meter and Polymeter

Ametric Music

Additive Rhythm

Form after the Common Practice Era

Scale Analysis and Formal Design

Form and Register

Substitutes for Tonal Function

Canon and Imitation

The Fibonacci Series

ch. 36 Music Analysis with Sets

Relationships between Sets

Listing the Elements of a Pitch-Class Set

Pitch and Pitch-Class Intervals

Transposition, Pc Intervals and Mod 12 Arithmetic

Interval Classes and the Interval-Class Vector

The Inversion of Pitch Sets and Pitch-Class Sets

The Inversion of Pitch Sets

The Inversion of Pitch-Class Sets

Identifying Transposition and Inversion

ch. 37 Sets and Set Classes

Set Classes and Their Prime Forms

Finding Prime Form

Set-Class Labels

Characteristic Trichords of Familiar Scales and Modes

Whole Tone

Pentatonic

Hexatonic

Octatonic

Chromatic

Reading Set-Class Tables

Complementary Sets

Using ic Vectors

Set Classes in Context

Set Classes and Formal Design

Combining Analytical Techniques

ch. 38 Ordered Segments and Serialism

Serial Composition

Ordered Pitch Segments

Labeling Pitch-Class Segments

Operations on Pitch Classes

Twelve-Tone Rows

Labeling Rows

Choosing Row Forms

Hearing Row Relationships

Realizing Twelve-Tone Rows

The Row Matrix

Hexachordal Combinatoriality

Finding P- and I- Combinatorial Row Pairs

Other Types of Combinatoriality

Serialism and Compositional Style

Serialized Durations

ch. 39 Rhythm, Meter, and Form after 1945

Contents note continued: New Approaches to Traditional Form

Sectional Forms

Variants on Traditional Rhythmic Notation

New Approaches to Meter and Polymeter

Metric Modulation

New Developments in Musical Form and Notation

Time-Line, Graphic, and Text Notation

Moment Form and Mobile Form

Indeterminacy and Chance

Minimalism and Form as Process

Analyzing Form in Recent Music

ch. 40 Recent Trends

Contemporary Composers and Techniques of the Past

Materials from the Pretonal Era

Materials from the Baroque, Classical, and Romantic Periods

Materials from the Twentieth Century

A Look Ahead

Appendixes

1. Try it Answers

2. Glossary

3. The Overtone Series

4. Guidelines for Part Writing

5. Ranges of Orchestral Instruments

6. Set-Class Table.

Notes:

Includes index.

ISBN:

9780393442403

0393442403

9780393442458

0393442454

OCLC:

1257480451

Publisher Number:

99988814939