Bending the rules of music theory : lessons from great composers /: lessons from great composers. (2019)

• Record Type: Book
• Further Information: Note: Timothy Cutler.
• Authors: Cutler, Timothy
• Contents: Acknowledgements Preface Chapter 1: "Rules" Chapter 2: Consonance and Dissonance Classifying Consonance and Dissonance Intervals and Musical Context Consonant and Dissonant Perfect Fourths Functionally Flexible Intervals Dissonant Perfect Fifths Dissonant Perfect Octaves Dissonant Perfect Unisons The Stability of Major and Minor Triads Unstable Triads and Nonharmonic Tones Unstable Triads and Hypermeter Stable Diminished and Augmented Triads? Chapter 3: Chord Construction Chordal Doubling Doubling Chordal Thirds Doubling Tendency Tones Incomplete Chords Missing Thirds Incomplete Inverted Chords Missing Roots Other Uses for Incomplete Chords Chord Spacing Chapter 4: Voice Leading I: Parallel Fifths Good and Bad Parallel Fifths Parallel Fifths and Nonharmonic Tones "Mozart" Fifths Parallel Fifths at Deeper Levels of Structure Illusory Parallel Fifths Full-Voiced Textures "Parallel Fifths" by Octave Transference Enharmonic Parallel Fifths Parallel Fifths between Phrases Parallel Fifths and Arpeggiated Textures Bad Parallel Fifths Avoiding Parallel Fifths Brahms’ Notebook Coloristic Parallel Fifths Chapter 5: Voice Leading II: Parallel Octaves and Other Procedures Parallel Octaves Fifths and Octaves by Contrary Motion Diminished Fifth-Perfect Fifth Ascending Chordal Sevenths Voice Leading the Cadential 6/4 Leading Tones in the Soprano When Two Voice-Leading Principles Collide Chapter 6: Harmonic Syntax I: Contrapuntal Chord Function Harmonic Function The Limits of Harmonic Function Stylistic Considerations The Pitfalls of Seeking Syntactical Irregularities Standard Harmonic Syntax Obscured by Nonharmonic Tones Harmonic Sequences Parallel 6/3 Chords Contrapuntal Chord Function Passing Chords Neighbor Chords The Limits of Contrapuntal Chord Successions I as an Unstable Contrapuntal Chord Chords that Support Contrapuntal Gestures in Upper Voices The Dangers of Contrapuntal Chord Function Chapter 7: Harmonic Syntax II: More Unorthodox Progressions V(7) -IV V(7) -II(7) Predominants Progressing "Up" by Third II6/5 -I II4/2 -I II-I bII6 -I(6) Multiple Explanations for Unusual-Looking Syntax V4/2 -I5/3 Harmonic Retracing Voice-Leading Function Chapter 8: Deviant Harmonies I: Forbidden and Functionally Flexible Chords "Forbidden" Harmonies: 5/3 and 6/4 Diminished Triads Functional Flexibility: Half Cadences with V7 Functional Flexibility: Decorative and Predominant VII7 Chords Functional Flexibility: III and VII Misleading Labels: III6 and VI6 Misleading Labels: Illusory Applied Chords An Illusory V7 Chapter 9: Deviant Harmonies II: 6/4 Triads Dissonant 6/4s Consonant 6/4s Arpeggiated 6/4 Oscillating 6/4 6/4s by Delayed Bass Resolution and Delayed Bass Entrance Notable 6/4 Triads in Works by Beethoven and Chopin Can We Invert the Cadential 6/4? Voice Exchanges The Inverted Cadential 6/4 Chapter 10: Aberrant Nonharmonic Tones I: Analytical Conundrums Optical Illusions Figuration within the Prevailing Harmony Nonharmonic Tones and the Obfuscation of Harmony Dual Interpretations Ornamenting Ornaments Floating Nonharmonic Tones Nonharmonic Tones and Registral Displacement Chapter 11: Aberrant Nonharmonic Tones II: Textbook Deviations Passing Tones Escape Tones Suspensions Implied Suspensions and Implied Resolutions Suspensions and "Incorrect" Metric Positioning Suspending an Entire Chord Anticipations Indirect Anticipations Hidden Anticipations Parallel Lines Chapter 12: Tonal Transgressions I: Beginnings and Endings What Defines Tonality? Beginning on a Non-Tonic Harmony Beginning on a Tonicized Non-Tonic Harmony Beginning in a Non-Tonic Key Area Beginning in an Ambiguous Key Area Beginning with Modal Ambiguity "Erroneous" Endings Phrygian Half Cadences Reverse Picardy Endings Ending on "I6 " Ending on "VI6 " Other "Erroneous" Closing Harmonies Ending with Modal Ambiguity Chapter 13: Tonal Transgressions II: Plurality and Implication Key-Shifting Compositions Key-Shifting and Text Implied Tonics Chapter 14: Oddities and Ends Too Much Dissonance? Unusual Chromatic Dyads The "All-Chromatic" 3-1 Trichord in Tonal Music The "All-Chromatic" 4-1 Tetrachord in Tonal Music The "All-Chromatic" 5-1 Pentachord (and Beyond) in Tonal Music
• Edition: 1st
• Publisher Details: London : Routledge
• Publication Date: 2019
• Extent: 1 online resource, illustrations (black and white)
• Subjects: 700.1; Music theory
• Languages: English
• ISBNs: 9781351069144; 9781351069151; 9781351069137; 9781351069168
• Related ISBNs: 9781138478237; 9781138478244
• Notes: Note: Description based on CIP data; resource not viewed.
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