Chapter 10: Harmonic Elaboration I: Seventh Chords
.............................................. 161
Origins of Seventh Chords as Non-Harmonic Activity........................................................................... 162
Expected (Typical) Use of Seventh Chords.............................................................................................. 163
Evaluating Seventh Chords in Contrast with Non-Harmonic Origins .................................................. 164
Other Uses of Seventh Chords .................................................................................................................. 165
Chapter 11: Chromaticism: Evaluating Tone Outside of the Prevailing Key
Essential versus Inessential Chromaticism ............................................................................................. 167
Modulation and Tonicization: Similarities and Contrasts..................................................................... 168
Modulation: Attributes and Closely Related Keys .................................................................................. 169
Types of Modulation: Common Chord, Direct (Phrase), Chromatic, Remote, Chain ..........................170
Tonicization: Applied Chords or Secondary Functions.......................................................................... 171
Introduction to Altered Chords: Mode Mixture ..................................................................................... 172
Chapter 12: Formal Organization: Small Part Forms
................................................ 173
Form as a Meta-Rhythm ............................................................................................................................ 174
The Motive: The Irreducible Creative Gesture........................................................................................ 175
Expansion: Sub-Phrase, Phrase, Period, Double Period ......................................................................... 176
Phrase Extension and Phrase Elision ....................................................................................................... 177
Small Homophonic Part Forms: Binary, Ternary and Rounded Binary ...............................................178
Expansion and Magnification: Textbook Models of Larger Forms ....................................................... 179
Chapter 13: Concise Forms: Composing in the Vernacular Style
........................... 180
Characteristics of Tonal Melody............................................................................................................... 181
Common Chord Progressions ................................................................................................................... 182
Argot, Jargon, and Slang in Popular Song ............................................................................................... 183
Typical Formal Patterns ............................................................................................................................ 184
The Blues..................................................................................................................................................... 185
Chapter 14: The Four-Voiced Setting: The Chorale and The Chorale Setting
Introduction and Purpose of Study.......................................................................................................... 187
SATB Chorale Style .................................................................................................................................... 188
Proscriptions and Prescriptions: Adherence to the Style...................................................................... 189
Active Tones, Voice Range, Doubling, Position ...................................................................................... 190
Chapter 15: Voice-Leading Procedures: A Positive Learning Approach
Introduction and Purpose of Study.......................................................................................................... 192
Root Position Triads: Root Motion and Prescribed Procedures ............................................................ 193
Root Position Triads: Conditional Procedures ........................................................................................ 194
Triads in Inversion: Prescribed Procedures ............................................................................................ 195
Complete Procedural Table....................................................................................................................... 196
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