Preface A Note for Instructors A Student's Introduction Acknowledgments Preludes - Rudiments Prelude 1 - Notation of Sound Prelude 2 - Meter Prelude 3 - Scales and Key Signatures Prelude 4 - Intervals Prelude 5 - Triads Prelude 6 - Seventh Chords Part I - Melody Chapter 1 - Melodic Construction Chapter 2 - Major Key Functionality Chapter 3 - Minor Key Functionality Chapter 4 - Chromaticism in Melodies Part II - Species Counterpoint to Chorale Style Chapter 5 - Background for Species Chapter 6 - First Species in Two Voices Chapter 7 - Second and Third Species in Two Voices Chapter 8 - Fourth Species in Two Voices Chapter 9 - Fifth Species (Florid Counterpoint) in Two Voices Chapter 10 - Two-Voice Counterpoint Chapter 11 - Three Voices and Chords Chapter 12 - First Species in Three Voices Chapter 13 - Second and Third Species in Three Voices Chapter 14 - Fourth Species in Three Voices Chapter 15 - Fifth Species (Florid Counterpoint) in Three Voices Chapter 12-15 Redux Chapter 16 - Four Voice Counterpoint and Chorale Style Chapter 17 - Figured Bass Chapter 18 - Other Dissonances Chapter 19 - The Purpose of Chorale Style Part III - Diatonic Harmony to Form Chapter 20 - Roman Numerals and Harmonic Progressions Chapter 21 - Tonic and Dominant: The Fundamental Relationship Chapter 22 - Predominants: The Basic Progression Chapter 23 - Intensifying the Motion: Adding Dissonance 1.Sevenths 2.Cadential 6/4 Chapter 24 - Submediant Chapter 25 - Mediant Chapter 26 - Harmonic Rhythm Chapter 27 - Harmonizations Chapter 28 - Linear Chords Chapter 29 - Sequences Chapter 30 - Tonicization Chapter 31 - Modulation Chapter 32 - Phrase-level Analysis Chapter 33 - Small Forms Part IV - Color Chords and Bold Chromaticism Chapter 34 - Modal Mixture Chapter 35 - Neapolitan Chapter 36 - Augmented Sixth Chords Chapter 37 - Altered Dominants Chapter 38 - Enharmonic Reinterpretation Chapter 39 - Third Relations Part V - Popular Music Chapter 40 - Introduction to Popular Music Chapter 41 - General Stylistic Elements Chapter 42 - Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added Note Harmonies Chapter 43 - Lead Sheet Notation Chapter 44 - Pop Progressions Following Classical Diatonic Functions Chapter 45 - Blues and the Retrogression Chapter 46 - Mediant and Ascending Thirds Chapter 47 - Supertonic, Linear Harmonic Motion, and Diatonic Summary Chapter 48 - Chromaticism from Classical Music Chapter 49 - Chromaticism from Jazz - Tritone Substitution Chapter 50 - Pop Chromaticism 1: L and VII Chapter 51 - Pop Chromaticism 2: Quality Change Chapter 52 - Three Analyses Appendices Appendix A - Melodies for Study Appendix B - Cantus Firmi and Figured Basses for Exercises Appendix C - Church Modes Appendix D - Extended Tertian Harmony Glossary About the Author
STEPHEN C. STONE has been on the music theory faculty at the Peabody Institute of Johns Hopkins University for fourteen years and is the former director of the music program at the Johns Hopkins School of Arts and Sciences.
The book is the result of over ten years; work; and it shows.
Stone's writing style is "familiar" as if spoken, without being
"chummy" or falsely fashionable. The book lacks gimmicks and silly
asides to get the reader to "like" the author completely. It's
authoritative without being "magisterial"; which really means that
is covers its material as approachably as it does comprehensively.
If you're looking for a single volume book that already seems to
know why you have acquired it and how attached you are to music;
yet not unable to admit that you can always learn more about the
way good music works, then Music Theory and Composition can be
heartily recommended. * Classical Net *
Stephen Stone's Music Theory and Composition is indeed a practical approach, as the subtitle promises. Giving substantial, readable instruction in rudiments, counterpoint, harmony, and popular music, this flexible text will find immediate use in many different programs and courses. -- Mark Lackey, assistant professor, Division of Music, Samford University
Stephen Stone's Music Theory and Composition: A Practical Approach provides readers with an exceptionally clear and logical approach to studying music theory. An all-encompassing textbook, it lays out its contents in a fashion that reflects historical progression of music - from the study of single melody to species counterpoint, diatonic harmony, forms, and chromatic harmony to popular music. Embedded within this logical flow of the content is the author's ability to explain the `why's' and `how's' of music theory, which I think is the greatest strength of this book. Stone pinpoints and explains many of the most common struggles and stumbling blocks students encounter in learning music theory, which undoubtedly comes from his years of devoted teaching experience. Students are not just instructed on how to do things but are guided to understand why and how certain musical and theoretical phenomenon are preferred and emphasized in the common practice period. While reading, students will continue to find themselves exclaiming `Aha! That's why!' -- Sookkyung Cho, assistant professor of piano and artist performer, Grand Valley State University
Stone's text encourages both knowledge and creativity. While instructors will welcome its adaptability to a variety of curricular plans, students will appreciate the clarity of writing and the breadth of repertoire. The chapters covering popular music are to be celebrated. -- Diane Luchese, professor of music theory, Towson University