Music Theory and Composition (eBook)

STEPHEN C. STONE has been on the music theory faculty at the Peabody Institute of Johns Hopkins University for fourteen years and is the former director of the music program at the Johns Hopkins School of Arts and Sciences.

PrefaceA Note for InstructorsA Student’s IntroductionAcknowledgmentsPreludes – RudimentsPrelude 1 – Notation of SoundPrelude 2 – MeterPrelude 3 – Scales and Key SignaturesPrelude 4 – IntervalsPrelude 5 – TriadsPrelude 6 – Seventh ChordsPart I – MelodyChapter 1 – Melodic ConstructionChapter 2 – Major Key FunctionalityChapter 3 – Minor Key FunctionalityChapter 4 – Chromaticism in MelodiesPart II – Species Counterpoint to Chorale StyleChapter 5 – Background for SpeciesChapter 6 – First Species in Two VoicesChapter 7 – Second and Third Species in Two VoicesChapter 8 – Fourth Species in Two VoicesChapter 9 – Fifth Species (Florid Counterpoint) in Two VoicesChapter 10 – Two-Voice CounterpointChapter 11 – Three Voices and ChordsChapter 12 – First Species in Three VoicesChapter 13 – Second and Third Species in Three VoicesChapter 14 – Fourth Species in Three VoicesChapter 15 – Fifth Species (Florid Counterpoint) in Three VoicesChapter 12-15 ReduxChapter 16 – Four Voice Counterpoint and Chorale StyleChapter 17 – Figured BassChapter 18 – Other DissonancesChapter 19 – The Purpose of Chorale StylePart III – Diatonic Harmony to FormChapter 20 – Roman Numerals and Harmonic ProgressionsChapter 21 – Tonic and Dominant: The Fundamental RelationshipChapter 22 – Predominants: The Basic ProgressionChapter 23 – Intensifying the Motion: Adding DissonanceSeventhsCadential 6/4Chapter 24 – SubmediantChapter 25 – MediantChapter 26 – Harmonic RhythmChapter 27 – HarmonizationsChapter 28 – Linear ChordsChapter 29 – SequencesChapter 30 – TonicizationChapter 31 – ModulationChapter 32 – Phrase-level AnalysisChapter 33 – Small FormsPart IV – Color Chords and Bold ChromaticismChapter 34 – Modal MixtureChapter 35 – NeapolitanChapter 36 – Augmented Sixth ChordsChapter 37 – Altered DominantsChapter 38 – Enharmonic ReinterpretationChapter 39 – Third RelationsPart V – Popular MusicChapter 40 – Introduction to Popular MusicChapter 41 – General Stylistic ElementsChapter 42 – Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and AddedNote HarmoniesChapter 43 – Lead Sheet NotationChapter 44 – Pop Progressions Following Classical Diatonic FunctionsChapter 45 – Blues and the RetrogressionChapter 46 – Mediant and Ascending ThirdsChapter 47 – Supertonic, Linear Harmonic Motion, and Diatonic SummaryChapter 48 – Chromaticism from Classical MusicChapter 49 – Chromaticism from Jazz – Tritone SubstitutionChapter 50 – Pop Chromaticism 1: L and ♭VIIChapter 51 – Pop Chromaticism 2: Quality ChangeChapter 52 – Three AnalysesAppendicesAppendix A – Melodies for StudyAppendix B – Cantus Firmi and Figured Basses for ExercisesAppendix C – Church ModesAppendix D – Extended Tertian HarmonyGlossaryAbout the Author