Music Theory, Volume 2"...Provide[s] a historical-analytical approach to the study of theory and harmony, and accomplishes this in an informal and practical style. The philosophy underlying all facets of the book is simply stated: although theory in the abstract is important, it is the practical application of theoretical principles that is the day-to-day business of most professional musicians...Analysis is the first step in understanding the use of tonal materials and style differences...four basic parameters of music (melody, harmony, rhythm, and form) are emphasized...Another area of emphasis in this text is stylistic composition..."--preface. |
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Page 209
... episode . 15 20 f tr cresc . The First Episode The episode The Rondo Principle 209 3 sf.
... episode . 15 20 f tr cresc . The First Episode The episode The Rondo Principle 209 3 sf.
Page 210
Earl Henry. 20 f tr cresc . The First Episode The episode provides contrast in tonality and melodic material . The first tonal digression is usually to the dominant or relative major although key relation- ships in rondo - form are much ...
Earl Henry. 20 f tr cresc . The First Episode The episode provides contrast in tonality and melodic material . The first tonal digression is usually to the dominant or relative major although key relation- ships in rondo - form are much ...
Page 212
... EPISODE 9 : 1 50 9 : 1 f 3 sf to sf The Second Episode Often the longest single section of a classical rondo - form , the second episode is marked by striking contrasts . Key relationships other than the dominant or relative major ...
... EPISODE 9 : 1 50 9 : 1 f 3 sf to sf The Second Episode Often the longest single section of a classical rondo - form , the second episode is marked by striking contrasts . Key relationships other than the dominant or relative major ...
Contents
Introduction to Counterpoint | 21 |
Independence Parallel Motion Similar Motion Oblique Motion Contrary Motion | 35 |
Harmonization | 44 |
Copyright | |
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Common terms and phrases
analysis augmented sixth augmented sixth chords borrowed chords cadence CALIFORNIA century Chorale Harmonization chorale melody chromatic Claude Debussy common practice Common Practice Period composers composition contrapuntal contrary motion Copyright counterpoint cresc diatonic DIEGO UNIVERSITY diminished seventh dissonance dominant seventh doubling employed enharmonic episode fifth figured bass fugue G Minor German six-five harmonic plan hexachords Impressionist intervals J.S. Bach jazz LIBRARY DIEGO major triad material measure mediant melodic modulation movement Mozart Neapolitan six ninth chords nonfunctional nonharmonic tones octave phrase piano pitch classes quartal related key relationship retrograde rhythm rhythmic Roman numeral rondo root position row forms RSITY scale Schoenberg sempre serial seventh chord shown in Example SITY six-four Solo Sonata sonata-form sonority soprano Stravinsky structure style subdominant techniques tertian third tonal tone row tonic key Transposition tritone UNIV upper voices Variation vii4 voice leading whole tone