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Music Theory- University Oregon

Music Theory- University Oregon

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Published by jazzmankely

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Published by: jazzmankely on Nov 14, 2012
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08/06/2013

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T A B L E O F C O N T E N T S
POLICIES AND PROCEDU RES ................................................................. ivPROCEDURES REGARDING THE TUNE ASSIGNMENT S ................................viDEFINITIONS ........................................................................................8CONDUCTING MELODIES WITH APPROPRIATE BEA T PATTERNS ................. 11NOTATION OF DURATION ...................................................................... 13CONFLICTS BETWEEN ME TRIC NOTATION AND PE RCEIVED METER ............ 16RECONCILING NON-TRAD ITIONAL AND TRADITIO NAL METER SIGNATURES . 17CHARACTERISTICS OF TRADITIONAL CO MPOUND METER SIGNATU RES ...... 18 "O SUSANNA" NOTATED IN THREE DIFFERENT M ETERS ............................ 19NOTATING RHYTHMS OF MELODIES ....................................................... 20DIATONICISM ...................................................................................... 27NOTATION OF PITCH ............................................................................ 34TRANSPOSITION OF THE DIATONIC CIRCLE ......................................... 38 37TRANSPOSITION OF MAJ OR SCALES ................................................... 41 40SIGNATURES .................................................................................... 41 40ELEMENTS OF NOTATION : ORTHOGRAPHY OF PITC H ............................. 42 41THREE BEGINNING METH ODS FOR READING INTE RVALS ........................ 45 42ENHARMONICS ................................................................................. 49 47INVERSION OF INTERVA LS ................................................................ 49 47TONALITY ....................................................................................... 50 48OF MODES AND THE REL ATIONSHIPS AMONG THE M ............................. 52 49CADENCE ........................................................................................ 66 61PHRASE .......................................................................................... 67 62STRUCTURAL AND COMPL EMENTARY TONES IN ME LODY ...................... 68 63T YPES OF COMPLEMENTAR Y TONES ................................................... 70 65STEPS FOR MELODIC AN ALYSIS ......................................................... 72 67
 
ii
STABLE AND UNSTABLE INTERVALS ................................................... 73 68PROVISIONALLY STABLE INTERVALS .................................................. 74 69TYPES OF MOTION OCCURRING BE TWEEN VOICES ................................ 77 72SECOND SPECIES COUNT ERPOINT ...................................................... 87 80THIRD SPECIES COUNTE RPOINT ......................................................... 89 82FOURTH SPECIES COUNT ERPOINT ...................................................... 93 85FIFTH SP ECIES COUNTERPOINT .......................................................... 97 89THREE-VOICE COUNTERP OINT IN FIRST SPECIE S .................................. 98 90THE ADVENT OF HARMON IC THINKING ..............................................100 92FIGURED BASS ...............................................................................102 94TRIADS .........................................................................................107 98NOTES ON HARMONY ..................................................................... 110 101ROMAN NUMERALS: DESC RIPTORS OF MUSICAL G RAMMAR ............... 113 104MELODIC MINO R ........................................................................... 115 106HARMONIC MINOR ......................................................................... 115 106CHORD SYMBOLS IN LEAD SHE ET NOTATION .................................... 118 109ACOUSTICAL ROOTS: ..................................................................... 119 110FUNCTIONAL HARMONY ................................................................. 123 114FUNCTIONAL ROOTS ...................................................................... 123 114FUNCTIONAL ROMAN NUM ERALS .................................................... 134 124FUNCTIONAL INVERSION ................................................................ 136 126HARMONIC CADENCES ................................................................... 136 126PRINCIPLES OF PART WRITING ...................................................... 143 132STEP-BY-STEP PROCESS FOR REALIZING A FIG URED BASS ................. 152 141STEP-BY-STEP PROCESS OF HARMONIZING AN U NFIGURED BASS LINE . 154 143EXCHANGE OF VOICES ................................................................... 156 144STEP-BY-STEP PROCESS OF HARMONIZING A GIVEN MELODY ............. 157 145
 
iii
FO UR-PART ELABORATION ............................................................. 161 149SEVENTH CHORDS ......................................................................... 166 153ORIGIN OF THE SEVENT H CHORDS ................................................... 166 153NAMING SEVENTH CHORD S ............................................................ 16 8 155RESOLUTION OF MAJOR-MINOR SEVENTH CHORDS ............................ 169 156 OTHER SEVENTH CHORDS .............................................................. 172 159RESOLUTIONS OF THE O THER SEVENTH CHORDS .............................. 176 163REGULAR LOCATIONS OF SEVENTH CHORDS IN M AJOR AND MINOR KEYS................................................................................................... 176 163CONVERTING ROMAN NUM ERALS INVOLVING SEVE NTH CHORDS ........ 178 164FUNCTIONAL ROOTS OF SEVENTH CHORDS ...................................... 178 164WRITING SEVENTH CHOR DS FROM THE TERTIAN ROOT ...................... 181 167OR FROM THE BAS S NOTE .............................................................. 181 167CHROMATIC CHORDS ..................................................................... 183 168SECONDARY HARMONIC F UNCTIONS ............................................... 184 169RECOGNIZING SECONDAR Y FUNCTIONS IN NOTAT ION ........................ 187 172EXTENDED SONORITIES .................................................................. 190 175DIMINISHED SEVENTH C HORDS ....................................................... 193 177THE AUGMENTED SIXTH CHORDS .................................................... 197 181THE CHORD OF THE NEA POLITAN SIXTH .......................................... 201 185CHORDS CONTAINING CO MPLEMENTARY TONE S ............................... 203 187PHRASE STRUCTURE ..................................................................... 206 190INSTRUMENTAL TRANSPO SITION ..................................................... 208 192TABLE OF TRANSPOSING AND NON-TRANSPOSING INSTRUMENTS ........ 211 195COMPENDIUM OF CHORD S YMBOLS ................................................. 212 196

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