Preface |
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ix | |
Use of the Computer |
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xvi | |
Computer-Assisted Instruction: Contents and Log |
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xxii | |
Introduction |
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xxxii | |
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1 | (11) |
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Pitch and Timbre; The Overtone Series |
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1 | (2) |
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3 | (3) |
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5 | (1) |
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The Envelope; Articulations |
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6 | (6) |
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8 | (3) |
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11 | (1) |
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Exploring Sound at the Computer |
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11 | (1) |
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12 | (16) |
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12 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (6) |
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17 | (1) |
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17 | (3) |
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20 | (4) |
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24 | (1) |
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24 | (4) |
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25 | (1) |
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25 | (1) |
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26 | (2) |
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28 | (19) |
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28 | (1) |
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28 | (1) |
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The Organization of Music into Meters |
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29 | (4) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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Counting Time in Simple Meters |
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34 | (8) |
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36 | (1) |
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36 | (4) |
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Music for Study Counting with Rests |
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40 | (2) |
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42 | (5) |
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43 | (3) |
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46 | (1) |
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Creating Rhythms at the Computer |
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46 | (1) |
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47 | (26) |
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Half Steps and Whole Steps |
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47 | (8) |
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48 | (4) |
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52 | (2) |
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54 | (1) |
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54 | (1) |
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55 | (5) |
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58 | (1) |
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59 | (1) |
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Key Signatures for Major Keys |
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60 | (5) |
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64 | (1) |
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64 | (1) |
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Intervals in the Major Scale |
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65 | (2) |
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Names of the Scale Degrees |
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67 | (6) |
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68 | (5) |
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73 | (35) |
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73 | (4) |
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77 | (1) |
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77 | (1) |
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Music for Study: Counting Compound Meter |
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78 | (4) |
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82 | (6) |
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84 | (4) |
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88 | (4) |
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89 | (2) |
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91 | (1) |
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Establishing Meter Through Accents and Patterns |
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92 | (16) |
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92 | (6) |
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Exploring Rhythm and Meter at the Computer |
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98 | (3) |
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101 | (6) |
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107 | (1) |
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Creating Rhythms at the Computer |
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107 | (1) |
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108 | (24) |
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108 | (3) |
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Use of Accidentals in the Minor Mode |
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111 | (4) |
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112 | (1) |
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112 | (3) |
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Intervals in the Minor Mode |
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115 | (1) |
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Relative and Parallel Minors |
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115 | (10) |
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117 | (1) |
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118 | (3) |
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121 | (4) |
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125 | (1) |
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126 | (6) |
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127 | (1) |
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128 | (4) |
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132 | (9) |
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132 | (6) |
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136 | (2) |
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138 | (3) |
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140 | (1) |
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Exploring Other Scales at the Computer |
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140 | (1) |
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141 | (13) |
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141 | (8) |
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Exploring Syncopation at the Computer |
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142 | (7) |
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149 | (1) |
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Rhythm in Jazz and Popular Music |
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149 | (5) |
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150 | (4) |
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154 | (20) |
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155 | (1) |
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155 | (1) |
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156 | (1) |
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156 | (1) |
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157 | (1) |
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157 | (3) |
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159 | (1) |
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160 | (1) |
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160 | (3) |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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Other Properties of Intervals |
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165 | (9) |
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167 | (1) |
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167 | (1) |
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167 | (7) |
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174 | (20) |
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175 | (3) |
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176 | (1) |
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176 | (2) |
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The Dominant Seventh Chord |
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178 | (2) |
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178 | (1) |
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179 | (1) |
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179 | (1) |
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180 | (6) |
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183 | (1) |
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184 | (1) |
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184 | (2) |
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186 | (1) |
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187 | (7) |
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190 | (4) |
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194 | (17) |
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194 | (5) |
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198 | (1) |
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199 | (1) |
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199 | (6) |
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Examples for the Study of Form |
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200 | (5) |
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205 | (2) |
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207 | (4) |
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209 | (1) |
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Melodic Composition at the Computer |
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210 | (1) |
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211 | (22) |
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What to Look for in a Score |
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211 | (22) |
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213 | (1) |
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Exercises for Practice in Reading Music |
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214 | (19) |
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Topics for Enrichment and Further Study |
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233 | (31) |
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World Music and Roots Music |
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234 | (8) |
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242 | (6) |
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248 | (1) |
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Exploring Other Scales at the Computer |
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248 | (1) |
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Other Chords: Seventh Chords |
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248 | (1) |
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249 | (1) |
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Other Chords: Borrowed Chords |
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249 | (3) |
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251 | (1) |
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Other Chords: Sixth Chords |
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252 | (4) |
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254 | (2) |
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256 | (8) |
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258 | (6) |
Appendix One: Standard Chord Progressions |
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264 | (3) |
Appendix Two: Roman Numeral Chord Designations |
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267 | (2) |
Glossary |
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269 | (4) |
Indexes |
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273 | |