|Chapter 12. Transition to the Common Practice Period|
|Chapter 13. Roman Numeral Analysis|
|Chapter 14. Tonic and Dominant|
The material in this text has been preparatory to this point, as we begin an examination of the Common Practice Period. Of course, music did not suddenly change on 31 December 1600... it was a gradual process. But, the change was profound.
Perhaps the greatest change was the codification of the harmonic dimension in music. While line and counterpoint were still a composer's greatest concern, there was a growing sense of the grammar of harmony, and this is the direction this text now moves, developing a vocabulary of chords.
|BASIC RULES FOR SPECIES COUNTERPOINT|
|DIATONIC PROCEDURES II: Expanding the Phrase|
|DIATONIC PROCEDURES III: Substitutions|
|CHROMATIC PROCEDURES I: Moving from the Global Key|
|THE ABC's OF CHORALE SETTING|
|CHROMATIC PROCEDURES II: Modal Mixtures|
|CHROMATIC PROCEDURES III: Advanced Vocabulary|
|THREE ANALYSIS PROJECTS|
|MICROCOSMS: Musical Styles of the Twentieth Century|
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