Music Theory (HarperCollins College Outline Series)
Language: English
Pages: 288
ISBN: 0064671682
Format: PDF / Kindle (mobi) / ePub
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.
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In music, as in many other fields, theory follows practice. The conventions that we call music theory have been derived, over a long period of time, from the analysis of the works and practices of the master composers. The aim of beginning theory is to acquaint the student with the general concepts and terminology that will be most useful to him in playing and analyzing the music in today's repertory. Most performers and listeners will be primarily concerned with the music of the last three
members. L ____________ J L_ ~ ~ /Phra.. a ,. J J J Q 10 L ____________ J) __ _ _ _ _ _ _ _ _ ___ _ J )1 J J J J ' J L _____________ ~ Figure 199. "Yankee Doodle" (American folk song) 103 Melody Writing The Brahms Waltz in A flat is an example of the period form from instrumental literature. . lPeTiod~_ _ _ _ _ _ _ _ _ __ # /Ph",.- 1- --, r---- ------.... r--- - -----------, Ph.·m.mbec cU ~p~ r' oJ Ir' :.~.~~~~~ •• •••• ••••• • : •••• : ~ If Fir' Qr etc. Phrase 2
-------I ----- ----- -., r------------------, ~ ,'!. ~ 1 If E r ; I r. Er ; It.; r F I .l. Figure 200. Brahms. Waltz in A flat Two related periods, each of which is made of two related phrases, make a double period. Notice that in the English folk song "Greensleeves" the two phrases that make up each period begin alike. but cadence differently. Peri od I t Phrase 1 ~·lilfrf)ttJlj J'J.jJIJ 'J.#OJ IJ l1h; iJ Phrase 2 JI J. j J Ir Period II, Phrase 1 ~. fCr' 0 IJ J' J. j J IJ n , ~.
1"':\ t";\ 'h rF rF IF Fr FI J. ; J rIF rJ ;IJ rIP); JI JJ rl1 1"';\ 1"':\ 8. ?:'j 9 r 'n; [' t:'\ r I r F IFF r I I]. I j F I f' Fi r IIF I IT" f":\ F I J J F I f' r ~ I j. I f' r I.J ~ J I J U I r· I 165 Harmon izing a Melody 9. OJ ,)! ~ t;'\ t;'\ J 1#2 J J J IJ r ?~I! p Ir E F r Ir E J .J r t;'\ r r r I'E r t;'\ I' IE r r J IJ I J II 10. ;H., J IF E r r t;'\ Ir ~ r r t;'\ 'H J F r F IE ~. I r ir Figure 294 I F E F J I@J IJ t;'\ r J
t;'\ r r J Ir r J II Part III Elaboration Chapter 13 Nonharmonic Tones (Melodic Elaboration) The multivoiced texture of Western music is usually described as either harmonic or contrapuntal} depending upon whether the vertical or horizontal aspect of the music is being emphasized. When all of the parts or voices move together in time, the effect is largely harmonic} or chordal. For example, in the closing theme from the last movement of the Pathetique Sonata, all of the parts move in
