Part I: RUDIMENTS.
1. The Great Staff and Piano Keyboard. 2. Accidentals. 3.
Intervals. 4. Major and Minor Scales. 5. Key Signatures. 6. Triads.
7. Meter and Rhythm.
Part II: DIATONIC MATERIALS.
1. Triads in Root Position. 2. The Tonic Triad in Root Position. 3.
Connection of Tonic and Dominant Triads in Root Position. 4. The
Dominant Seventh Chord in Root Position. 5. Connection of Tonic and
Subdominant Triads in Root Position. 6. Connection of Subdominant
and Dominant Triads in Root Position. 7. Cadences Employing the
Tonic, Subdominant, and Dominant Triads in Root Position. 8. The
Cadential Tonic Six-Four Chord. 9. Tonic, Subdominant, and Dominant
Triads in First Inversion. 10. The Supertonic Triad. 11. Inversions
of the Dominant Seventh Chord. 12. Linear (Embellishing) Six-Four
and Other Chords. 13. Submediant and Mediant Triads in Root
Position and First Inversion. 14. The Leading Tone Triad. 15.
Variant Qualities of Triads. 16. The Sequence. 17. The Supertonic
Seventh Chord. 18. The Leading Tone Seventh Chord. 19. Other
Diatonic Seventh Chords.
Part III: CHROMATIC MATERIALS.
1. Secondary (Applied, Borrowed) Dominants. 2. Modulation. 3.
Linear (Embellishing) Diminished Seventh Chords. 4. The Neapolitan
Triad. 5. Augmented Sixth Chords. 6. Modulation by Other Means. 7.
Ninth Chords.
Part IV: TWENTIETH-CENTURY MATERIALS.
1. Twentieth-Century Techniques: General Comments. 2. Further
Concepts for Analysis. 3. Rhythmic and Metric Devices. 4. Tertian
Harmony. 5. The Diatonic (Church) Modes. 6. Pandiatonicism. 7.
Exotic (Artificial, Synthetic) Scales. 8. Quartal and Secondal
Harmony. 9. Polyharmony and Polytonality. 10. Free Atonality. 11.
Twelve-Tone Serialism. 12. Additional Contemporary Procedures.
Part V: REFERENCE MATERIALS.
1. Musical Calligraphy. 2. The Harmonic Series. 3. Nonharmonic
(Nonchord) Tones. 4. Relative and Linear Motion. 5. Guidelines for
Voice Leading in Strict Four-Part Writing. 6. Guidelines for
Doubling in Strict Four-Part Writing. 7. Checklist for Part
Writing. 8. Chord Functions in Tonal Music. 9. Figured-Bass
Symbols. 10. Procedure for Harmonizing a Figured Bass. 11.
Procedure for Harmonizing a Melody. 12. Models for Expansion and
Elaboration. 13. Cadence and Phrase Structure. 14. Typical Phrase
Variants. 15. The Motive. 16. The Sequence. 17. Textures. 18. An
Introduction to Tonal Melody. 19. An Introduction to Tonal
Counterpoint. 20. Form. 21. Checklist for Analysis. 22. Composition
Checklist. 23.Instrumental Ranges and Transpositions.
Bibliography.
Index.
Robert Nelson teaches music theory and composition at the Moores School of Music at the University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he also has received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra. Thomas E. Benjamin has recently retired as Chair of the Department of Music Theory at the Peabody Conservatory of the Johns Hopkins University. A composer, conductor, performer, and music theorist with more than 40 compositions published and recorded, he also holds fellowships and awards from the MacDowell Colony, Yaddo, and the National Endowment for the Arts. Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music at the University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan and Israel. In addition to CDs with the Albany label, he has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern and Transcontinental. He received the Martha Baird Rockefeller Award as well as honors from the National Endowment for the Arts.
"I think a strength of the book is the proportion of text to
examples; in other words, there is less prose and more musical
examples."
"Benjamin, Horvit, and Nelson have succeeded in creating a concise
and easy-to-use text that any music student will find very useful."
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