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Techniques and Materials of Music : From the Common Practice Period
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A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear.
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Item specifics
- Condition
- Book Title
- Techniques and Materials of Music : From the Common Practice Peri
- Subject
- Music
- ISBN
- 9781285446172
About this product
Product Identifiers
Publisher
Cengage Learning
ISBN-10
1285446178
ISBN-13
9781285446172
eBay Product ID (ePID)
167540705
Product Key Features
Number of Pages
352 Pages
Language
English
Publication Name
Techniques and Materials of Music : From the Common Practice Period Through the Twentieth Century, Enhanced Edition (with Premium Website Printed Access Card)
Subject
General, Instruction & Study / Theory
Publication Year
2014
Features
Revised
Type
Textbook
Subject Area
Music, Education
Format
Hardcover
Dimensions
Item Height
10.2 in
Item Weight
29.6 Oz
Item Length
0.7 in
Item Width
8 in
Additional Product Features
Edition Number
7
Intended Audience
College Audience
LCCN
2013-954982
Dewey Edition
21
Reviews
"I read in your preface that this text tried to be very precise and to the point with minimal prose. I do think this is a terrific point to make. It gives you what you need and that's it. . . . It's straight and to the point. . . . I REALLY like the I-II-III-IV, A-B-C, 1-2-3, format. It really seems more organized and easier to read. It breaks everything up in short nuggets of information and therefore doesn't seem overwhelming to take in." -Sharon Nauman, "Written text is kept to a minimum. Instead, the emphasis is on graphics, i.e., the notes. In some texts, the explanations of chords, intervals, scales, voice leading, etc. can be more confusing that it need be. There are copious exercises. Theory at this level is best learned "hands on." The exercises are present so that students need not be accomplished pianists to play through them as they complete them." -Gayle Murchison, 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.8. Triads in Root Position.9. The Tonic Triad in Root Position.10. Connection of Tonic and Dominant Triads in Root Position.11. The Dominant Seventh Chord in Root Position.12. Connection of Tonic and Subdominant Triads in Root Position.13. Connection of Subdominant and Dominant Triads in Root Position.14. Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position.15. The Cadential Tonic Six-Four Chord.16. Tonic, Subdominant, and Dominant Triads in First Inversion.17. The Supertonic Triad.18. Inversions of the Dominant Seventh Chord.19. Linear (Embellishing) Six-Four and Other Chords.20. Submediant and Mediant Triads in Root Position and First Inversion.21. The Leading Tone Triad.22. Variant Qualities of Triads.23. The Sequence.24. The Supertonic Seventh Chord.25. The Leading Tone Seventh Chord.26. Other Diatonic Seventh Chords.Part III: CHROMATIC MATERIALS.27. Secondary (Applied, Borrowed) Dominants.28. Modulation.29. Linear (Embellishing) Diminished Seventh Chords.30. The Neapolitan Triad.31. Augmented Sixth Chords.32. Modulation by Other Means.33. Ninth Chords.Part IV: TWENTIETH-CENTURY MATERIALS.34. Twentieth-Century Techniques: General Comments.35. Further Concepts for Analysis.36. Rhythmic and Metric Devices.37. Tertian Harmony.38. The Diatonic (Church) Modes.39. Pandiatonicism.40. Exotic (Artificial, Synthetic) Scales.41. Quartal and Secondal Harmony.42. Polyharmony and Polytonality.43. Free Atonality.44. Twelve-Tone Serialism.45. Additional Contemporary Procedures.Part V: REFERENCE MATERIALS.46. Musical Calligraphy.47. The Harmonic Series.48. Nonharmonic (Nonchord) Tones.49. Relative and Linear Motion.50. Guidelines for Voice Leading in Strict Four-Part Writing.51. Guidelines for Doubling in Strict Four-Part Writing.52. Checklist for Part Writing.53. Chord Functions in Tonal Music.54. Figured-Bass Symbols.55. Procedure for Harmonizing a Figured Bass.56. Procedure for Harmonizing a Melody.57. Models for Expansion and Elaboration.58. Cadence and Phrase Structure.59. Typical Phrase Variants.60. The Motive.61. The Sequence.62. Textures.63. An Introduction to Tonal Melody.64. An Introduction to Tonal Counterpoint.65. Form.66. Checklist for Analysis.67. Composition Checklist.68. Instrumental Ranges and Transpositions.Bibliography.Index.
Illustrated
Yes
Dewey Decimal
781.2
Table Of Content
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.8. Triads in Root Position.9. The Tonic Triad in Root Position.10. Connection of Tonic and Dominant Triads in Root Position.11. The Dominant Seventh Chord in Root Position.12. Connection of Tonic and Subdominant Triads in Root Position.13. Connection of Subdominant and Dominant Triads in Root Position.14. Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position.15. The Cadential Tonic Six-Four Chord.16. Tonic, Subdominant, and Dominant Triads in First Inversion.17. The Supertonic Triad.18. Inversions of the Dominant Seventh Chord.19. Linear (Embellishing) Six-Four and Other Chords.20. Submediant and Mediant Triads in Root Position and First Inversion.21. The Leading Tone Triad.22. Variant Qualities of Triads.23. The Sequence.24. The Supertonic Seventh Chord.25. The Leading Tone Seventh Chord.26. Other Diatonic Seventh Chords.Part III: CHROMATIC MATERIALS.27. Secondary (Applied, Borrowed) Dominants.28. Modulation.29. Linear (Embellishing) Diminished Seventh Chords.30. The Neapolitan Triad.31. Augmented Sixth Chords.32. Modulation by Other Means.33. Ninth Chords.Part IV: TWENTIETH-CENTURY MATERIALS.34. Twentieth-Century Techniques: General Comments.35. Further Concepts for Analysis.36. Rhythmic and Metric Devices.37. Tertian Harmony.38. The Diatonic (Church) Modes.39. Pandiatonicism.40. Exotic (Artificial, Synthetic) Scales.41. Quartal and Secondal Harmony.42. Polyharmony and Polytonality.43. Free Atonality.44. Twelve-Tone Serialism.45. Additional Contemporary Procedures.Part V: REFERENCE MATERIALS.46. Musical Calligraphy.47. The Harmonic Series.48. Nonharmonic (Nonchord) Tones.49. Relative and Linear Motion.50. Guidelines for Voice Leading in Strict Four-Part Writing.51. Guidelines for Doubling in Strict Four-Part Writing.52. Checklist for Part Writing.53. Chord Functions in Tonal Music.54. Figured-Bass Symbols.55. Procedure for Harmonizing a Figured Bass.56. Procedure for Harmonizing a Melody.57. Models for Expansion and Elaboration.58. Cadence and Phrase Structure.59. Typical Phrase Variants.60. The Motive.61. The Sequence.62. Textures.63. An Introduction to Tonal Melody.64. An Introduction to Tonal Counterpoint.65. Form.66. Checklist for Analysis.67. Composition Checklist.68. Instrumental Ranges and Transpositions.Bibliography.Index.
Edition Description
Revised edition
Synopsis
TECHNIQUES AND MATERIALS OF MUSIC, 7th Enhanced Edition covers all the basics of composition--including harmony, melody, and musical form. The authors present essential materials of common-practice music and an overview of 20th century techniques. Numerous hands-on exercises promote readers' memorization and retention of key concepts. Included with every new copy of the print book is access to the new Premium interactive learning website, which delivers a wealth of practical material that will help users better understand musical theory and improve their musical technique.
LC Classification Number
MT6.B3335T4 2015
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