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Book SynopsisTrade Review"The text is very well-written. Music Theory Remixed reflects the current teaching practices. Topics are introduced well, and then discussed thoroughly yet succinctly. Thankfully, the text is not too wordy and concepts are not overly explained." --Kristin Wendland, Emory University "A wide and pertinent variety of musical styles and genres, Music Theory Remixed proves that theory isn't just for classical music. A general reliance upon contextualized musical examples, rather than abstract part-writing, and actual inclusion of major theoretical approaches of the past three decades are the primary strengths of this text." --Nathan Baker, Casper College "The musical examples selected by Holm-Hudson are an excellent balance between familiar favorites and fresh, novel choices. They provide immediate context for the musical detail under examination and, as an added benefit, are very enjoyable. The inclusion of some popular, jazz, and non-Western music is well integrated and does not feel like an "add-on," as it does in some other texts. Holm-Hudson is obviously well-versed in a wide variety of styles and genres and speaks with genuine authority." --Janet E. Greene, Hamline University
Table of ContentsCONTENTS PREFACE PART 1: FUNDAMENTALS AND DIATONIC HARMONY PRELUDE: SETTING THE STAGE Introduction: Knowing the Secrets Three Listening Studies Sound Example 1.1: Scott Johnson, John Somebody-Pt. 1 Sound Example 1.2: Iannis Xenakis, Concrèt PH Sound Example 1.3: Robert Schumann, Arabeske in C major, op. 18 Web Feature PRL.1: John Lee Hooker, "Boogie Chillun" Weaving the Sonic Tapestry: Texture Monophony: Jean Ritchie, "Barbary Allen (Barbara Allen)" and Johann Sebastian Bach, Minuet II from Suite no. 1 in G major for solo cello, BWV 1007 Homophony: Fréderic Chopin, Prelude in B minor, op. 28, no. 6 Polyphony: Johann Sebastian Bach, Invention no. 6 in E major, BWV 777 Heterophony: Master Musicians of Jajouka featuring Bachir Attar, "El Medahey" Conclusion Terms to Know CHAPTER 1: DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES The Keyboard, Pitch, and Pitch Class Clefs and the Grand Staff Level Mastery 1.1 Accidentals and Enharmonic Spellings Level Mastery 1.2 Notation on the Staff The Harmonic Series and Timbre The Major Scale and Its Scale Degrees Level Mastery 1.3 Major Key Signatures Level Mastery 1.4 The Minor Scale Forms and Their Scale Degrees The Natural Minor Scale The Harmonic Minor Scale The Melodic Minor Scale Level Mastery 1.5 Minor Key Signatures Level Mastery 1.6 The Circle of Fifths and Closely Related Keys Web Feature 1.1: Observations of Tonal Relationships and the Evolution of Musical Style Conclusion Terms to Know Self-Test Apply This! CHAPTER 2: DIMENSIONS OF PITCH II: MODES, INTERVALS, CONSONANCE AND DISSONANCE Diatonic Modes Level Mastery 2.1 Web Feature 2.1: Experimenting with Scales Web Feature 2.2: Javanese Court Gamelan, "Hudan Mas" The Space Between the Tones: Intervals Level Mastery 2.2 Interval Quality Perfect Intervals Web Feature 2.3: The Tritone: The Devil in Music Major and Minor Intervals Augmented and Diminished Intervals Compound Intervals Spelling Intervals Inversion of Intervals Level Mastery 2.3 Level Mastery 2.4 Consonant and Dissonant Harmonic Intervals Web Feature 2.4: Contextual Dissonance in Richard Strauss's Also Sprach Zarathustra Conclusion Terms to Know Self-Test Apply This! CHAPTER 3: DURATION, RHYTHM, AND METER Time: The Wellspring of Music Metric Structure Sound Example 3.1: Hoobastank, "The Reason" Web Feature 3.1: Perceiving Levels of Meter in Autechre's "Crystel" Types of Meter Representing Durations Level Mastery 3.1 Meter Signatures Level Mastery 3.2 Accent Level Mastery 3.3 Organizing Meter: Beaming and Syncopation Web Feature 3.2: Competing Groupings in Dave Matthews Band's "Drive In Drive Out" Web Feature 3.3: Issues in Tempo, Meter, and Notation Web Feature 3.4: Changing Groupings in Peter Gabriel's "The Rhythm of the Heat" Level Mastery 3.4 Additive Meters Sound Example 3.2: Bulgarian Choral Folk Song, "Dilmano, Dilbero" Web Feature 3.5: Changing Additive Meters in Igor Stravinsky's "Glorification of the Chosen One" from The Rite of Spring Level Mastery 3.5 Conclusion Terms to Know Self-Test Apply This! CHAPTER 4: TRIADS AND SEVENTH CHORDS Triads and Chord Quality Level Mastery 4.1 Triad Inversions Seventh Chords and Chord Quality Level Mastery 4.2 Seventh Chord Inversions Level Mastery 4.3 Introduction to Figured Bass Web Feature 4.1: Using Figured Bass to Indicate Chromaticism in Bach's Recitative II from Cantata no. 140 Level Mastery 4.4 Pop Chord Symbols Conclusion Terms to Know Self-Test Apply This! CHAPTER 5: DIATONIC CHORD LABELS Diatonic Triads in Major Keys Roman Numerals Diatonic Triads in Minor Keys Level Mastery 5.1 Diatonic Seventh Chords in Major Keys Diatonic Seventh Chords in Minor Keys Level Mastery 5.2 Harmonic Functions Level Mastery 5.3 Conclusion Terms to Know Self-Test Apply This! CHAPTER 6: INTRODUCTION TO COUNTERPOINT AND VOICE LEADING Constructing a Melodic Line Level Mastery 6.1 Voice Leading and Types of Motion Level Mastery 6.2 Introduction to the First Three Species of Counterpoint First Species Level Mastery 6.3 Second Species Level Mastery 6.4 Third Species Level Mastery 6.5 Conclusion Terms to Know Self-Test Apply This! CHAPTER 7: FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE Tendency Tones Level Mastery 7.1 More Resolution Principles Level Mastery 7.2 Cadences Web Feature 7.1: Deceptive Cadences Not Using vi Level Mastery 7.3 Cadences and Harmonic Rhythm Conclusion Terms to Know Self-Test Apply This! CHAPTER 8: PART WRITING WITH ROOT POSITION TRIADS Chord Spacing Doubling Level Mastery 8.1 From Doubling to Voice Leading Consistency General Part Writing Principles Level Mastery 8.2 Connecting Triads with the Same Root Connecting Triads a Fourth (Fifth) Apart Connecting Triads a Third (Sixth) Apart Connecting Triads a Second (Seventh) Apart Level Mastery 8.3 Conclusion Terms to Know Self-Test Apply This! CHAPTER 9: PART WRITING WITH FIRST INVERSION TRIADS AND SEVENTH CHORDS Doubling in First Inversion Triads Level Mastery 9.1 Parallel First Inversion Triads Level Mastery 9.2 Resolving Diatonic Seventh Chords in First Inversion Level Mastery 9.3 Conclusion Terms to Know Self-Test Apply This! CHAPTER 10: PART WRITING WITH SECOND INVERSION TRIADS AND SEVENTH CHORDS Introduction Doubling The Cadential 6/4 chord Other Contexts for the 6/4 Chord The Passing 6/4 and 4/3 Chord The Neighboring 6/4 and 4/3 Chord The Arpeggiating 6/4 and 4/3 Chord The Pedal 6/4 and 4/3 Chord Level Mastery 10.1 Conclusion Terms to Know Self-Test Apply This! PART 2: FORM AND CHROMATIC HARMONY 1 CHAPTER 11: MELODIC FIGURATION: NON-CHORD TONES Introduction to Melodic and Textural Reduction An Exercise in Embellishment: "My Country, 'Tis of Thee" Neighbor Tones Passing Tones Incomplete Neighbors: Appoggiaturas and Escape Tones Level Mastery 11.1 Suspensions, Retardations, and Anticipations Types of Suspensions Retardations Anticipations Level Mastery 11.2 Pedal Point Web Feature 11.1: Non-Chord Tones in Score Context Level Mastery 11.3 Web Feature 11.2: Another Look at "Für Elise" (textural reduction) Conclusion Terms to Know Self-Test Apply This! CHAPTER 12: MOTIVES, PHRASES, AND PERIODS Motives Web Feature 12.1: Motives in Bach's Brandenburg Concerto No. 3, Third Movement Web Feature 12.2: Motives in Thelonious Monk's "Well You Needn't"-In Composition and Improvisation Web Feature 12.3: Motivic Parallelism in Queen's "We Are the Champions" Putting Ideas Together: Sentence Structure Phrase Structure Level Mastery 12.1 Larger Phrase Groupings Hypermeter Arch Maps: A Tool for Analysis of Phrase Structure Level Mastery 12.2 When Phrases Collide: Elision Web Feature 12.4: Joseph Haydn, Symphony no. 101 ("Clock"), Third Movement Conclusion Terms to Know Self-Test Apply This! CHAPTER 13: HARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL Introduction: Harmonic Function Revisited Level Mastery 13.1 Periods and the Phrase Model Contrapuntal Expansion of Harmonic Function: Prolongation Web Feature 13.1: Prolongation in Score Context: Robert Schumann, Arabeske, op. 18 Level Mastery 13.2 Conclusion Terms to Know Apply This! CHAPTER 14: HARMONIC PROGRESSION AND THE CIRCLE OF FIFTHS The vii° Level Mastery 14.1 The ii(7) and IV(7) in Major and Minor Web Feature 14.1: Bach's Part Writing Solutions in the Prelude in C major, BWV 846, from the Well-Tempered Clavier, Book 1 Level Mastery 14.2 The vi(7) in Major and Minor The iii(7) in Major and Minor Level Mastery 14.3 Summary of Harmonic Motion The VII in Minor The Diatonic (Descending Fifth) Circle-of-Fifths Harmonic Sequence Level Mastery 14.4 The Reverse (Ascending Fifth) Circle-of-Fifths Harmonic Sequence The Descending Third Harmonic Sequence The Ascending Second (5-6) Harmonic Sequence The Descending Second (7-6) Harmonic Sequence Harmonic Progression in Popular Music Conclusion Terms to Know Self-Test Apply This! CHAPTER 15: SECONDARY CHORDS AND TONICIZATION Secondary Dominant (and Dominant Seventh) Chords Level Mastery 15.1 Resolving Secondary Dominant Chords Level Mastery 15.2 Recognizing and Identifying Secondary Dominant Chords The Chromatic Circle-of-Fifths Harmonic Sequence Passing Secondary Dominant Chords Level Mastery 15.3 Secondary Leading-Tone (Diminished) Chords Level Mastery 15.4 Resolving Secondary Leading-Tone Chords Level Mastery 15.5 Recognizing and Identifying Secondary Leading-Tone Chords Web Feature 15.1: Secondary Chords in Context Level Mastery 15.6 Conclusion Terms to Know Self-Test Apply This CHAPTER 16: MODE MIXTURE Introduction Mode Mixture in Major Mode Mixture in Minor Recognizing and Spelling Borrowed Chords Level Mastery 16.1 Conclusion Terms to Know Self-Test Apply This! PART 3: FORM AND CHROMATIC HARMONY 2 CHAPTER 17: MODULATION 1 The Harmonic Journey: There and Back Again Web Feature 17.1: Tonality as a Journey Common-Chord Modulation Level Mastery 17.1 Chromatic Modulation Level Mastery 17.2 Conclusion Terms to Know Self-Test Apply This! CHAPTER 18: MODULATION 2 Introduction Common-Tone Modulation Sequential Modulation Monophonic Modulation Direct Modulation Progressive Tonality Web Feature 18.1: Modulation in Context-Mozart, Fantasy in C Minor K.475 Conclusion Terms to Know Self-Test Apply This! CHAPTER 19: CANON AND FUGUE Introduction Canon: Lassus, "Qui Sequitur Me" Fugue: The Exposition After the Exposition Level Mastery 19.1 Contemporary Applications: Bartók, Hindemith, Shostakovitch A Contemporary Application: Gentle Giant, "On Reflection" Conclusion Terms to Know Self-Test Apply This! CHAPTER 20: BINARY AND TERNARY FORMS Introduction: The Two-Part Principle Types of Binary Forms Level Mastery 20.1 Ternary Form Simple Ternary Form Compound Ternary Form Level Mastery 20.2 Song Form (AABA) Conclusion Terms to Know Self-Test Apply This! CHAPTER 21: SONATA FORM Introduction: The Evolution of Sonata Form The Exposition The Development Section The Recapitulation Web Feature 21.1: Sonata Form in Context-Mozart's Symphony no. 40 in G Minor, K. 550 (i) Web Feature 21.2: The Sonata Principle in Popular Music Level Mastery 21.1 Conclusion Terms to Know Self-Test Apply This! CHAPTER 22: RONDO Introduction: Extending the Principle of Departure and Return Web Feature 22.1: The Baroque Rondeau Characteristics of Classic-Era Rondos The Five-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Second Movement The Seven-Part Rondo: Beethoven, Piano Sonata no. 8 in C Minor, op. 13 ("Pathétique"), Third Movement Level Mastery 22.1 The Sonata-Rondo: Mozart, Piano Sonata no. 13 in B flat Major, K.333, Third Movement Web Feature 22.2: When Two Episodes Are Not Enough-Mozart's Rondo in F major, K.494 The Rondo in Popular Music? Conclusion Terms to Know Self-Test Apply This! CHAPTER 23: VARIATION FORMS Introduction Continuous Variations Contemporary Chaconne no. 1: Philip Glass, "Kuru Field of Justice" Contemporary Chaconne no. 2: U2, "With or Without You" Sectional Variations Level Mastery 23.1 Jazz Improvisation as Variation Twelve-Bar Blues Web Feature 23.1: Blues Progression Variations in Early Recordings of King Oliver and Louis Armstrong Techno and Open-Form Variation Variation as a Process: North Indian Raga Conclusion Terms to Know Self-Test Apply This! CHAPTER 24: CHROMATICISM I: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS Spelling the Neapolitan Sixth Chord, and Special Issues in Doubling Level Mastery 24.1 Augmented Sixth Chords The Italian Augmented Sixth (It+6) The French Augmented Sixth (Fr+6) The German Augmented Sixth (Ger+6) Level Mastery 24.2 Related Chords: The Doubly Augmented 4/3 Chord and the Diminished Third Chord Chromatic Harmony in Context of the Phrase Model Conclusion Terms to Know Self-Test Apply This! PART 4: ADVANCED CHROMATIC HARMONY AND CONTEMPORARY TECHNIQUES CHAPTER 25: ALTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS Introduction Ninth Chords Eleventh Chords Thirteenth Chords Color Tones Level Mastery 25.1 Altered Dominant Chords Inversions of Altered Dominant Chords Level Mastery 25.2 Conclusion Terms to Know Self-Test Apply This! CHAPTER 26: FURTHER CHROMATIC ENHANCEMENTS Introduction Extended Tonicization Common-Tone (Embellishing) Diminished Seventh Chords Level Mastery 26.1 Linear Chords Chromatic Mediant Relationships Neo-Riemannian Theory Level Mastery 26.2 Conclusion Terms to Know Self-Test Apply This! CHAPTER 27: MODULATION 3 Introduction Enharmonic Modulation Level Mastery 27.1 Level Mastery 27.2 Other Types of Enharmonic Modulation The Omnibus Progression Modulation as Narrative Conclusion Terms to Know Self-Test Apply This! CHAPTER 28: CONTEMPORARY TECHNIQUES I Introduction: The Path to New Music, Pathways Back to Older Musics A Tale of Three Chords Impressionism Planing Level Mastery 28.1 Web Feature 28.1: A Further Look at Impressionistic Harmony: Maurice Ravel's Sonatine Integer Notation Level Mastery 28.2 Synthetic Scales Level Mastery 28.3 Polytonality Secundal and Quartal-Quintal Chords Level Mastery 28.4 Pandiatonicism Conclusion Terms to Know Self-Test Apply This! CHAPTER 29: CONTEMPORARY TECHNIQUES II Introduction Twelve-Tone Technique Level Mastery 29.1 Extensions of Twelve-Tone Technique: Integral Serialism Web Feature 29.1: Examples of Twelve-Tone Music in Jazz Free Atonality and Set Theory Octave Equivalence and Mod 12 Level Mastery 29.2 Normal Order Level Mastery 29.3 Transpositional Equivalence: The Transposition (Tn) Operation Inversional Equivalence: The Inversion (Tni) Operation Level Mastery 29.4 Set Class, Interval Vector, and Z-Relation Set Class Interval Vector Z-Relation Level Mastery 29.5 Subset and Superset Relations Combinatoriality Symmetry Level Mastery 29.6 Conclusion Terms to Know Self-Test Apply This! CHAPTER 30: CONTEMPORARY TECHNIQUES III Introduction New Approaches to Form Indeterminacy Minimalism Postmodernism and Stylistic Pluralism Conclusion Terms to Know Apply This! CHAPTER 31: THE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY Introduction Hocked Hooks and Recycled Riffs: Musical Intertextuality Web Feature 31.1: Style: The Way Riffs Wander Narrativity and Musical Meaning Anaphones An Analysis of Anaphones: Pink Floyd, "Comfortably Numb" (The Wall, 1979) Music and Narrative Web Feature 31.2: Narrative Devices in Schubert's "Erlkönig" Music as Narrative Web Feature 31.3: Narrative Elements in Chopin's Ballade No. 1 in G minor, op. 23 Conclusion Terms to Know Self-Test Apply This! ONLINE APPENDIX: ANSWERS TO SELF-TESTS INDEX
