Description
Book SynopsisDominant', subdominant', perfect cadence', etc. handy terms when studying the standard euroclassical and jazz repertoires but not much use if you want to understand the tonal idioms of rock, rebetiko, flamenco, son-bolero, news jingles, traditional music from the British Isles or Balkans, and all those other musics in which final cadences don't have to be perfect', where interrupted' cadences can be final, and where a subdominant (if any) has no dominant to which it can be sub'. This book replaces the ethnocentric confusion of conventional music theory with concepts that make sense of everyday tonality like the melodic hexatonicism of It's Not Unusual, unusual in music theory but not in real life. The quartal sounds of mountain banjo tuning, corporate underscore, Bartók quartets, TV themes and folk-rock backing are another focus of attention, as are the functions of non-ionian harmony's chord loops and shuttles, flat-two modes', bimodal reversibility, tonal counterpoise, etc.
A
