A generative theory of tonal music by Fred Lerdahl

By Fred Lerdahl

Preface -- Preface to the 1996 Reprint -- 1. Theoretical point of view -- 2. advent to Rhythmic constitution -- three. Grouping constitution -- four. Metrical constitution -- five. creation to discount rates -- 6. Time-Span aid: The Analytic approach -- 7. Formalization of Time-Span aid -- eight. Prolongational relief: The Analytic method -- nine. Formalization of Prologational aid -- 10. a few Analyses -- eleven. song Universals and similar matters -- 12. mental and Linguistic Connections -- Notes -- Rule Index -- Bibliography -- Index

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By clicking on the figure, you will see the specific musical example and hear the recording. These recordings are quite useful when you are away from the keyboard (or have insufficient keyboard skills) and want to hear a particular musical illustration. ) with their sound and, thus, training and improving your ear. Appendices/Auxiliaries This section contains some useful material that complements the book. The Selected Discography (Appendix F) contains the list of recordings for standard tunes discussed in the book.

One of the characteristics of jazz rhythm is a shift of accents from 1 and 3 to 2 and 4. These dynamic (or phenomenal) accents create a rich and compelling dialog with the metrical accent on beat 1. By placing the dynamic accents on beats 2 and 4, jazz gets its own rhythmic identity. In addition, these accents help to create a characteristic disagreement between rhythm and meter. In jazz, rhythm seems to work against the underlying meter and that seeming disagreement influences the perception of time.

Music theory. I. Title. 65′12—dc23 2013031155 ISBN: 978-0-415-53759-9 (hbk) ISBN: 978-0-415-53761-2 (pbk) ISBN: 978-0-203-38000-0 (ebk) Typeset in Galliard and Swiss 721 by Florence Production Ltd, Stoodleigh, Devon, UK Senior Editor: Constance Ditzel Assistant Editor: Denny Tek Editorial Assistant: Elysse Preposi Production Manager: Mhairi Bennett Marketing Manager: Cedric Sinclair Project Manager: Kelly Derrick Copy Editor: Sue Edwards Proofreader: Kilmeny MacBride Cover Design: Jayne Varney To my sister Natalia and my brother Zenon Contents Preface Acknowledgments PART ONE BASICS 1 Music Fundamentals Concepts and Terms Pitch Major Scales Key Signatures Minor Scales Rhythm Meter and Time Signatures Notating Rhythm Intervals Inversion of Intervals Triads Inversion of Triads Suspended Triad 2 Jazz Rhythm Concepts and Terms General Characteristics Syncopation Swing Practicing Rhythm Placement of Swing 8ths; Phrasing; Playing with a Metronome 3 Harmonic Function Concepts and Terms Functional Tonality Triads in Major Keys Triads in Minor Keys Notational Conventions Lead-Sheet Notation; Roman Numerals; Function Symbols Functional Families Major Key; Minor Key Voice-Leading Principles Basic Keyboard Applications 4 Four-Part Chords Concepts and Terms Characteristics of Jazz Harmony Chord Categories Major Category; Minor Category; Dominant 7th Category; Intermediary Category Inversions of Four-Part Chords Functional Families Major Key; Minor Key “Drop 2” Voicings 5 Five-Part Chords Concepts and Terms Chordal Extensions Addition of Extensions Chord Categories Major Category; Minor Category; Dominant and Suspended Chords; Dominant 7th Category; Suspended Dominant Category; Intermediary Category Positions of Chords “Drop 2” Voicings 6 The II–V–I Progression Concepts and Terms A Brief History The ii7−V7−Imaj7 Progression The −V7−i7 Progression Secondary Dominant 7th The Diminished 7th Chord Transformation of the Diminished 7th Chord 7 Modes Concepts and Terms Parent-Scale Derivation of Diatonic Modes The Modes’ Characteristics Diatonic Modes Major Modes—Ionian; Major Modes—Lydian; Major Modes—Mixolydian; Minor Modes—Aeolian; Minor Modes—Dorian; Minor Modes—Phrygian; Minor Modes—Locrian Parent-Scale Derivation of Chromatic Modes Chromatic Modes Minor Modes—Melodic Minor; Minor Modes—Dorian ♭2; Minor Modes—Locrian ♮2; Major Modes—Lydian Augmented; Major Modes—Mixolydian ♯11; Major Modes—Mixolydian ♭13; Major Modes—Altered 8 Chord—Scale Theory Concepts and Terms Objectives of Chord-Scale Theory Chord-Scale Relationships Major Category; Minor Category; Dominant Category; Suspended Dominant Category; Intermediary Category The ii7−V7−Imaj7 Progression The −V7−i7 Progression 9 The Blues Concepts and Terms Generic Blues Telling a Story Call and Response The Blues Scale Major Blues Scale Basic Blues Progression Keyboard Realization; Chord-Scale Relationships Minor Blues Chord-Scale Relationships 10 Improvisation Concepts and Terms Getting Started Blues Riffs The Role of Guide Tones The Charleston Rhythm Exploring Guide Tones Using 3rds and 7ths; Using 3rds or 7ths; The 3rd and 7th lines Motivic Development Repetition; Transposition; Expansion and Interpolation; Contraction and Fragmentation; Inversion PART TWO INTERMEDIATE 11 Jazz Lead Sheets Concepts and Terms What Does a Lead Sheet Tell Us?

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