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Book
xiv, 703 pages : music ; 27 cm
  • Part I: THE PRIMARY MATERIALS AND PROCEDURES. 1. Key, Scales, and Modes. 2. Intervals. 3. Rhythm and Meter. 4. Triads and Seventh Chords. 5. Introduction to Counterpoint. 6. Procedures of Four-Part Writing. Part II: I-V-I AND ITS ELABORATIONS. 7. I, V, and V7. 8. I6, V6, vii6. 9. Inversions of V7. 10. Leading to V: IV, ii, and ii6. 11. The Cadential 6/4. 12. vi and IV6. 13. Supertonic and Subdominant Seventh Chords. 14. Other Uses of IV, IV6, and vi. 15. V as a Key Area. 16. III and VII. Part III: 5/3, 6/3, AND 6/4 TECHNIQUES. 17. 5/3-Chord Techniques. 18. Diatonic Sequences. 19. 6/3-Chord Techniques. 20. 6/4-Chord Techniques. Part IV: ELEMENTS OF FIGURATION. 21. Melodic Figuration. 22. Rhythmic Figuration. Part V: DISSONANCE AND CHROMATICISM I. 23. Leading-Tone Seventh Chords. 24. Mixture. 25. Remaining Uses of Seventh Chords. 26. Applied V and VII. 27. Diatonic Modulation. Part VI: DISSONANCE AND CHROMATICISM II. 28. Seventh Chords with Added Dissonance. 29. The Phrygian II (Neapolitan). 30. Augmented Sixth Chords. 31. Other Chromatic Chords. 32. Chromatic Voice-Leading Techniques. 33. Chromaticism in Larger Contexts. Appendix I: Keyboard Progressions. Appendix II: Score Reduction. Appendix III: Roman Numerals and Registers-- Explanatory Tables and Charts. Index of Musical Examples. Subject Index.
  • (source: Nielsen Book Data)9781337560573 20180226
A clear and accessible volume spanning the entire theory course sequence, HARMONY AND VOICE LEADING, covers all basic concepts, including species counterpoint. Available with MindTap Music, which includes the ebook with audio examples, Guided Listening Exercises for many units--showing a step-by-step resolution of a unit exercise--and PDFs of the workbook exercises.
(source: Nielsen Book Data)9781337560573 20180226
Music Library

2. Jazz [2019]

Book
vii, 392 pages : illustrations (some color), music ; 26 cm
Music Library
Book
xiv, 529 pages : illustrations, music ; 26 cm
  • 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 â ­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.
  • (source: Nielsen Book Data)9781538101230 20180403
Music Theory and Composition: A Practical Approach presents a pragmatic, accessible approach to music theory through an emphasis on melody and counterpoint. This focus explains the "why" of musical construction more clearly than the traditional approach of beginning with chords. By starting with a single melodic line and gradually adding voices in counterpoint, the book drills part-writing while simultaneously explaining functionality, first with scale degrees and then with harmony. The text has students learn musical techniques and progressively build on their functions and importance to create their own compositions. With short, digestible chapters, Music Theory and Composition clearly presents otherwise complicated ideas not as strict rules, but as artistic ideals, encouraging the interactive creation of new compositions as a tool for learning. The textbook is versatile and easily customizable, suiting -Different skill levels with species counterpoint providing a framework for the beginner while providing an interesting challenge for more experienced students -Different curricular schedules with complete exercises in two, three, and four voices, allowing for an optional skip from two voices to four -Different pedagogical approaches with species exercises encouraging students to consider harmonic choices and figured bass ensuring functional progressions Specific features of this text include: -complete curriculum for first-year theory courses -over 500 musical examples drawn from Common Practice Era compositions as well as more contemporary and popular pieces -workbook sections printed at the end of each chapter and available for download on companion website -focus on active composition throughout the text and workbook sections -conversational tone to encourage student engagement Designed for first-year college music theory courses, but accessible enough for the interested lay reader or high school student, the text offers a true balance of counterpoint and harmony.â .
(source: Nielsen Book Data)9781538101230 20180403
Music Library
Book
xxxiv, 523 pages : illustrations, music ; 28 cm
  • 1. General Considerations and Prerequisites. 2. Basic Percussion Technique Through the Study of the Snare Drum. 3. Multiple Percussion. 4. Keyboard Percussion. 5. Timpani. 6. Bass Drum, Cymbals, and Accessories. 7. Percussion Instruments of the World. 8. Drum Set. 9. Marching Percussion. 10. Musical Interpretation of Percussion Parts. 11. Supplemental Playing Exercises. Appendix A--Orchestral Excerpts for Percussion and Discography of Percussion Music. Appendix B -Select Percussion Solo and Ensemble Music.
  • (source: Nielsen Book Data)9781337560719 20180226
Gain the knowledge and skills needed to learn--and teach--percussion with TEACHING PERCUSSION, Enhanced 3rd Edition! Providing a comprehensive introduction to every aspect of percussion education, technique and performance, this text and its accompanying videos guide you toward a greater musical awareness and improved technique. Illustrations, examples and exercises acquaint you with the special needs of all percussion instruments. And modern techniques and numerous exercises give you greater insight into music learning and performance. Available with MindTap Music, the digital study tool that empowers you to learn when, where and how you want--even on your mobile.
(source: Nielsen Book Data)9781337560719 20180226
Music Library
Music score
1 score (33 pages) ; 42 cm.
Music Library
Book
230 pages : many illustrations, maps ; 21 cm.
Music Library
Music score
1 vocal score (iv, 238 pages) ; 27 cm.
Music Library
Book
222 pages ; 20 cm
Music Library
Music score
1 score (xi, 5 pages) + 1 part (2 pages) : 3 facsimiles ; 31 cm.
  • Contents: Canzonetta M.S. 121 - Duetto in C major M.S. 122.
Music Library
Music score
1 score (15 pages) ; 42 cm.
Music Library
Music score
1 score (vii, 6 pages) : 1 facsimile ; 31 cm.
Music Library
Music score
1 score (134 pages) ; 30 cm.
Music Library
Music score
1 score (59 pages) ; 31 cm.
Music Library
Music score
1 score (21 p.) ; 43x28 cm.
Music Library

15. 24 caprices [2016]

Music recording
1 audio disc : CD audio, digital ; 4 3/4 in.. Sound: digital; optical; stereo. Digital: audio file. CD audio.
  • Caprice in E (Andante) (1:55)
  • Caprice in B minor (Moderato) (3:01)
  • Caprice in E minor (Sostenuto - Presto - Sostenuto) (3:33)
  • Caprice in C minor (Maestoso) (6:46)
  • Caprice in A minor (Agitato) (3:09)
  • Caprice in G minor (Lento) (5:10)
  • Caprice in A minor (Posato) (4:24)
  • Caprice in E flat (Maestoso) (2:57)
  • Caprice in E (Allegretto) (3:01)
  • Caprice in G minor (Vivace) (2:25)
  • Caprice in C (Andante - Presto - Andante) (4:19)
  • Caprice in A flat (Allegro) (2:36)
  • Caprice in B flat (Allegro) (2:46)
  • Caprice in E flat (Moderato) (2:17)
  • Caprice in E minor (Posato) (3:01)
  • Caprice in G minor (Presto) (1:35)
  • Caprice in C (Corrente - Allegro) (2:36)
  • Caprice in E flat (Lento - Allegro assai) (3:00)
  • Caprice in D (Allegretto) (3:43)
  • Caprice in A (Amoroso - Presto) (3:18)
  • Caprice in F (Marcato) (2:45)
  • Caprice in E flat (Posato) (3:51)
  • Caprice in A minor (Quasi presto) (4:45).
Music Library
Music score
1 score (31 pages) ; 31 cm.
Music Library
Music score
1 score (34 pages) ; 31 cm
  • Espejísmos = Mirage
  • Armonías de mediodía = Midday harmonies
  • Martillo = Hammer.
Music Library
Music score
1 score (17 pages) + 4 parts ; 31 cm
  • Glade
  • Winding line
  • Punchy.
Music Library
Music score
1 score (viii, 51 pages) + 1 part (24 pages)
Music Library
Music score
1 score (115 pages) ; 28 cm
  • 33 sueños. Proemio (invocación)
  • Sueño I. Habla el Capitán Nemo: ; Sueño II ; Sueño III. Cabo Sacratif ; Sueño IV. Barzj ; Sueño V. Manual de espirales I ; Sueño VI ; Sueño VII. Eclipse ; Sueño VIII ; Sueño IX ; Sueño X ; Sueño XI Sueño XII. Sancti Petri ; Sueño XIII ; Sueño XIV ; Sueño XV ; Sueño XVI. In Deo fiducea mea ; Sueño XVII ; Sueño XVIII ; Sueño XIX ; Sueño XX. Vasto, Chieti ; Sueño XXI ; Sueño XXII. Nafs ammâra ; Sueño XIII ; Sueño XXIV ; Sueño XXV ; Sueño XXVI ; Sueño XXVII. Alfred Brendel ; Sueño XXVIII ; Sueño XXIX. Escorial ; Sueño XXX. Ganada ; Sueño XXXI ; Sueño XXXII. Manual de espirales II ; Sueño XXXIII.
Music Library