| Contents |
Part I. Elements of music. Pitch and pitch class -- Simple meters -- Beat divisions, pitch collections, and major keys -- Compound duple meter -- Minor keys -- Intervals, compound quadruple, and compound triple meter -- Triads and half-note beat units -- Seventh chords, dotted-half-note beat units, and disruptions of the pulse -- The diatonic modes, counterpoint, and borrowed beat divisions in simple meter -- Plainchant, melodic embellishments, and borrowed beat divisions in compound meter -- Part II. Diatonic harmony and tonicization. Eighteenth-century counterpoint and eighth- and dotted-eighth-note beat units -- Phrases, cadences, and subdivided half- and dotted-half-note beat units -- More dominant sevenths, predominant harmonies, and syncopation -- 6/4 chords, melody harmonization, and swing rhythm -- Root progressions, syncopated subdivisions, more cadences, and modal melodies -- Melodic embellishment, harmonizing modal melodies, and compound triplets -- Diminished chords, mixed beat divisions, and compound duplets -- Phrase structure, melody harmonization, and syncopation with borrowed beat divisions -- Tonicizing V and combined beat divisions in simple meters -- Tonicizing scale degrees other than [5 with a circumflex], combined beat divisions in compound meter, and harmonizing melodies that tonicize the subdominant -- Sequences, hemiola, and harmonizing melodies that tonicize the submediant -- Part III. Chromatic harmony and form. Modulation to closely related keys, harmonizing melodies that tonicize the mediant in minor, and changing meters -- Binary and ternary forms, modulation to closely related keys in minor, and changing meter with beat-duration equivalence -- Contrapuntal practices and dual meter signatures -- Variations and super-subdivided simple beats -- Modal mixture and super-subdivided compound beats -- The Neapolitan sixth, augmented-sixth chords, and traditional dance rhythms -- Chromatic modulation and ragtime -- Vocal forms and asymmetric meters -- Sonata form, asymmetric triple meters, and common-tone embellishing chords -- Rondo and three-against-four rhythms (3:4) -- Lead-sheet notation, quaternary song form, and blues -- Popular song -- Part IV. The twentieth century and beyond. Modes, scales, and beat divisions of five and seven -- Changing meter, symmetric pitch collections, and slow-tempo asymmetric meters -- Fixed-do and integer solmization, and spoken-word rhythms -- Trichords, polymeter, and obscured meter -- Pitch-class sets, ordered segments and serialism, and metric modulation -- Polymeter, ametric meter, and non-retrogradable rhythms -- Rhythm as a structural element and non-traditional rhythmic notation. |
| Abstract |
This guide helps students develop skills in ear-training and sight-singing through a repertoire of real music that students listen to and perform. Designed to link aural skills with what students do in the theory classroom, this guide is closely coordinated with The Musician's Guide to Theory and Analysis. The Sight-Singing volume contains a wealth of carefully sequenced resources: over 800 melodies, rhythms, keyboard exercises, and improvisation activities, all in a single text. For this edition, keyboard exercises were simplified for greater accessibility, and they are now integrated within the chapters, clarifying their place in the text's pedagogical sequence. This guide has always emphasized real music over abstract exercises to help students develop aural skills. Featuring a range of styles and a variety of instruments, the repertoire for the fourth edition is more diverse than ever, with works by composers such as Sophia Dussek, Amy Beach, Scott Joplin, Samuel Coleridge-Taylor, Ella Fitzgerald, Daisy Allen, and many others. |
