Music Theory and Composition - Stone, Stephen C.

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Résumé :
Preface A Note for Instructors A Student's Introduction Acknowledgments Preludes - Rudiments Prelude 1 - Notation of Sound Prelude 2 - Meter Prelude 3 - Scales and Key Signatures Prelude 4 - Intervals Prelude 5 - Triads Prelude 6 - Seventh Chords Part I - Melody Chapter 1 - Melodic Construction Chapter 2 - Major Key Functionality Chapter 3 - Minor Key Functionality Chapter 4 - Chromaticism in Melodies Part II - Species Counterpoint to Chorale Style Chapter 5 - Background for Species Chapter 6 - First Species in Two Voices Chapter 7 - Second and Third Species in Two Voices Chapter 8 - Fourth Species in Two Voices Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices Chapter 10 - Two-Voice Counterpoint Chapter 11 - Three Voices and Chords Chapter 12 - First Species in Three Voices Chapter 13 - Second and Third Species in Three Voices Chapter 14 - Fourth Species in Three Voices Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices Chapter 12-15 Redux Chapter 16 - Four Voice Counterpoint and Chorale Style Chapter 17 - Figured Bass Chapter 18 - Other Dissonances Chapter 19 - The Purpose of Chorale Style Part III - Diatonic Harmony to Form Chapter 20 - Roman Numerals and Harmonic Progressions Chapter 21 - Tonic and Dominant: The Fundamental Relationship Chapter 22 - Predominants: The Basic Progression Chapter 23 - Intensifying the Motion: Adding Dissonance 1.Sevenths 2.Cadential 6/4 Chapter 24 - Submediant Chapter 25 - Mediant Chapter 26 - Harmonic Rhythm Chapter 27 - Harmonizations Chapter 28 - Linear Chords Chapter 29 - Sequences Chapter 30 - Tonicization Chapter 31 - Modulation Chapter 32 - Phrase-level Analysis Chapter 33 - Small Forms Part IV - Color Chords and Bold Chromaticism Chapter 34 - Modal Mixture Chapter 35 - Neapolitan Chapter 36 - Augmented Sixth Chords Chapter 37 - Altered Dominants Chapter 38 - Enharmonic Reinterpretation Chapter 39 - Third Relations Part V - Popular Music Chapter 40 - Introduction to Popular Music Chapter 41 - General Stylistic Elements Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added Note Harmonies Chapter 43 - Lead Sheet Notation Chapter 44 - Pop Progressions Following Classical Diatonic Functions Chapter 45 - Blues and the Retrogression Chapter 46 - Mediant and Ascending Thirds Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary Chapter 48 - Chromaticism from Classical Music Chapter 49 - Chromaticism from Jazz - Tritone Substitution Chapter 50 - Pop Chromaticism 1: L and ?VII Chapter 51 - Pop Chromaticism 2: Quality Change Chapter 52 - Three Analyses Appendices Appendix A - Melodies for Study Appendix B - Cantus Firmi and Figured Basses for Exercises Appendix C - Church Modes Appendix D - Extended Tertian Harmony Glossary About the Author...

Biographie:
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Sommaire:

Preface
A Note for Instructors
A Student's Introduction
Acknowledgments

Preludes - Rudiments
Prelude 1 - Notation of Sound
Prelude 2 - Meter
Prelude 3 - Scales and Key Signatures
Prelude 4 - Intervals
Prelude 5 - Triads
Prelude 6 - Seventh Chords

Part I - Melody
Chapter 1 - Melodic Construction
Chapter 2 - Major Key Functionality
Chapter 3 - Minor Key Functionality
Chapter 4 - Chromaticism in Melodies

Part II - Species Counterpoint to Chorale Style
Chapter 5 - Background for Species
Chapter 6 - First Species in Two Voices
Chapter 7 - Second and Third Species in Two Voices
Chapter 8 - Fourth Species in Two Voices
Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices
Chapter 10 - Two-Voice Counterpoint
Chapter 11 - Three Voices and Chords
Chapter 12 - First Species in Three Voices
Chapter 13 - Second and Third Species in Three Voices
Chapter 14 - Fourth Species in Three Voices
Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices
Chapter 12-15 Redux
Chapter 16 - Four Voice Counterpoint and Chorale Style
Chapter 17 - Figured Bass
Chapter 18 - Other Dissonances
Chapter 19 - The Purpose of Chorale Style

Part III - Diatonic Harmony to Form
Chapter 20 - Roman Numerals and Harmonic Progressions
Chapter 21 - Tonic and Dominant: The Fundamental Relationship
Chapter 22 - Predominants: The Basic Progression
Chapter 23 - Intensifying the Motion: Adding Dissonance
SeventhsCadential 6/4Chapter 24 - Submediant
Chapter 25 - Mediant
Chapter 26 - Harmonic Rhythm
Chapter 27 - Harmonizations
Chapter 28 - Linear Chords
Chapter 29 - Sequences
Chapter 30 - Tonicization
Chapter 31 - Modulation
Chapter 32 - Phrase-level Analysis
Chapter 33 - Small Forms

Part IV - Color Chords and Bold Chromaticism
Chapter 34 - Modal Mixture
Chapter 35 - Neapolitan
Chapter 36 - Augmented Sixth Chords
Chapter 37 - Altered Dominants
Chapter 38 - Enharmonic Reinterpretation
Chapter 39 - Third Relations

Part V - Popular Music
Chapter 40 - Introduction to Popular Music
Chapter 41 - General Stylistic Elements
Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added
Note Harmonies
Chapter 43 - Lead Sheet Notation
Chapter 44 - Pop Progressions Following Classical Diatonic Functions
Chapter 45 - Blues and the Retrogression
Chapter 46 - Mediant and Ascending Thirds
Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary
Chapter 48 - Chromaticism from Classical Music
Chapter 49 - Chromaticism from Jazz - Tritone Substitution
Chapter 50 - Pop Chromaticism 1: L and ?VII
Chapter 51 - Pop Chromaticism 2: Quality Change
Chapter 52 - Three Analyses

Appendices
Appendix A - Melodies for Study
Appendix B - Cantus Firmi and Figured Basses for Exercises
Appendix C - Church Modes
Appendix D - Extended Tertian Harmony

Glossary
About the Author