Manual for ear training and sight singing /
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
New York, NY :
WW. Norton & Company,Inc.,
[2017]
|
| Ausgabe: | Second edition. |
| Schlagworte: |
Inhaltsangabe:
- Machine generated contents note: 1.The Fundamentals of Meter and Rhythm
- 2.The Fundamentals of Pitch
- 3.Combining Pitches with Meter and Rhythm
- 4.Error Detection and Correction
- 5.More about Meter and Rhythm
- 6.More about Pitch
- 7.Notating Rhythm and Meter
- 8.Notating Pitches
- 9.Combining Rhythm and Pitch Notation
- 10.Dictation in Longer Contexts
- 11.The Fifteen Major Keys
- 12.Ties and the Dotted Beat
- 13.More about Intervals: Number and Quality
- 14.Skips to 7 and 2 as Prefix Neighbors
- 15.Tempo
- 16.Compound Meters
- 17.Introduction to the Minor Mode: Diatonic Minor through Relative and Parallel Approaches
- 18.Lower Chromatic Neighbors
- 19.More about the Minor Mode: Chromatic 6 and 7 Through Modal Borrowing
- 20.Triplets and Duplets
- 21.Introduction to Transcription
- 22.Quadruple Division of the Beat in Simple Meters
- 23.Conducting Pulse Levels Other Than the Notated Beat
- 24.Performance Indications
- Note continued: 25.The Dominant Triad; Skips to 5, 7, and 2
- 26.The Modern C Clefs: Alto and Tenor Clefs
- 27.Skips to 4 and 6 as Prefix Neighbors
- 28.Pentatonicism
- 29.Sextuple Division of the Beat in Compound Meters
- 30.Repeat Signs
- 31.The Subdominant Triad; Skips to 4, 6, and 1
- 32.Syncopation
- 33.The Dominant Seventh Chord in Melodic Contexts; Skips to 5, 7, 2, and 4
- 34.Introduction to Harmonic Singing
- 35.Introduction to Harmonic Listening: Harmonic Rhythm and Cadences
- 36.Two-Part Music
- 37.Introduction to Bass-Line Dictation
- 38.Root Position and First Inversion Triads
- 39.Introduction to Voice Leading; Compound Melody
- 40.Triad Qualities
- 41.The Leading-Tone Triad; Skips to 7, 2, and 4
- 42.The Supertonic Triad; Skips to 2, 4, and 6
- 43.The Submediant Triad; Skips to 6, 1, and 3
- 44.The Mediant Triad; Skips to 3, 5, and 7
- 45.The Dominant Seventh Chord in Harmonic Contexts
- 46.Voice-Leading Techniques
- Note continued: 47.Six-Four Figures
- 48.Other Seventh Chords
- 49.Transposition
- 50.The Modes: Relative Approach
- 51.The Modes: Parallel Approach
- 52.Advanced Triplets
- 53.Chromatic Passing Tones
- 54.Skips to Chromatic Pitches as Prefix Neighbors
- 55.Chords Applied to the Dominant; Skips Involving [↑]4
- 56.Chords Applied to the Subdominant; Skips Involving [↓]7 in Major and [↑]3 in Minor
- 57.Chords Applied to the Supertonic; Skips Involving [↑]1
- 58.Chords Applied to the Submediant; Skips Involving [↑]5
- 59.Chords Applied to the Mediant; The 7
- 3 Skip in Minor; Skips Involving [↑]2 in Major
- 60.The Neapolitan Chord; Steps and Skips Involving [↓]2
- 61.The Augmented Sixth Chords; Steps and Skips Involving [↑]4 and 6 in Minor, [↑]4 and [↓] 6 in Major
- 62.Other Chords
- 63.Melodic Sequence
- 64.Harmonic Sequence
- 65.Other Clefs
- 66.Hemiola
- Note continued: 67.Stepwise Chromatic Alterations
- 68.Reading in Keys Other Than the Notated Key Signature
- 69.Introduction to Modulation
- 70.Closely Related Modulation from the Maj or Mode
- 71.Closely Related Modulation from the Minor Mode
- 72.Distant Modulations
- 73.Successive Modulations
- 74.Fragments of Tonality
- 75.Advanced Meters
- 76.More Advanced Rhythms
- 77.Some Common Non-Diatonic Pitch Collections
- 78.Hypermeter
- 79.Form.