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- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/34%3A_Serialism
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/13%3A_Phrases_in_Combination/13.09%3A_Practice_ExercisesCreate a diagram of the form using cadence abbreviations (HC, DC, PC, IAC, and PAC) and letters to designate melody (a, a’, b, etc.). In this chapter, the prime symbol should not be used to represent ...Create a diagram of the form using cadence abbreviations (HC, DC, PC, IAC, and PAC) and letters to designate melody (a, a’, b, etc.). In this chapter, the prime symbol should not be used to represent embellishment of the melody or changes in the harmonization or register. Name the form of the excerpt (sentence, parallel period, contrasting period, asymmetrical period, parallel double period, repeated phrase, repeated period).
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/06%3A_Triads/6.05%3A_Simple_Sus_ChordsCommon in popular music are “sus” chords, with “sus” being a shortening of “suspended,” a term we will study in the chapter on non-chord tones. In the sus4 chord (also labeled simply as “sus”), a perf...Common in popular music are “sus” chords, with “sus” being a shortening of “suspended,” a term we will study in the chapter on non-chord tones. In the sus4 chord (also labeled simply as “sus”), a perfect 4th replaces the 3rd of the chord. Both of these sus chords have a perfect 5th from the root to the fifth. In a later chapter, there is a section on more sophisticated sus chords like CsusC9sus and Csus♭9C7sus(♭9).
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/07%3A_Roman_Numerals_and_Cadences
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/31%3A_Introduction_to_Jazz_Theory/31.02%3A_Chord_Symbol_Specifics“6” versus “13” rule: label the 6th of a chord “6” only if the 7th is not present; if the 7th is present, label the 6th as “13” “11” versus “sus” (“sus” means “4”): label the 4th of a chord “sus” only...“6” versus “13” rule: label the 6th of a chord “6” only if the 7th is not present; if the 7th is present, label the 6th as “13” “11” versus “sus” (“sus” means “4”): label the 4th of a chord “sus” only if the 3rd is not present; if the 3rd is present, label the 4th an “11” (C7sus has C–F–G–B♭). (There is an exception to this in more advanced jazz theory, which is not within the purview of this text.)
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/22%3A_Modulation/22.03%3A_Key_RelationshipsIn the Baroque and Classical eras, composers typically modulated to the dominant (when starting in a major key) or to the relative major (when starting in a minor key). In the Romantic era, composers ...In the Baroque and Classical eras, composers typically modulated to the dominant (when starting in a major key) or to the relative major (when starting in a minor key). In the Romantic era, composers experimented with modulating to more remote (or perhaps adventurous) key areas, described as “foreign” to the home key.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/19%3A_Mode_Mixture/19.05%3A_The_Picardy_3rdThe major tonic usually functions as VivV/iv if it's not the last chord of a piece, and raised 6^ and 7^ occur naturally as part of the melodic minor scale. In minor, the one place to borrow from the ...The major tonic usually functions as VivV/iv if it's not the last chord of a piece, and raised 6^ and 7^ occur naturally as part of the melodic minor scale. In minor, the one place to borrow from the major mode is at the end of a piece in minor, with the use of the major II chord instead of minor ii. While the Picardy 3rd (the major third above the tonic) was most commonly encountered in the Baroque era, it has been used from then until now, though with less frequency.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/04%3A_Basics_of_Rhythm/4.06%3A_Common_Rhythmic_Notation_ErrorsStrong beats are the first beat of each measure (in 24 and 34) and beats 1 and 3 in 44. Below are two syncopation figures that don’t show the beat but are acceptable because they are common and to wri...Strong beats are the first beat of each measure (in 24 and 34) and beats 1 and 3 in 44. Below are two syncopation figures that don’t show the beat but are acceptable because they are common and to write them out correctly involves more symbols (beamed eighths and ties) for the performer to comprehend. An example of syncopation at the eighth-note level (the division of the beat) can be found in the following example from “Eleanor Rigby.”
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/26%3A_Voice_Leading_Triads/26.12%3A_Summary_of_Doubling_Rules_for_TriadsTo generalize, here are the doubling rules for voice leading triads in root position, first inversion, and second inversion: Root Position Chords: DOUBLE THE BASS First-Inversion Chords: DO NOT DOUBLE...To generalize, here are the doubling rules for voice leading triads in root position, first inversion, and second inversion: Root Position Chords: DOUBLE THE BASS First-Inversion Chords: DO NOT DOUBLE THE BASS Exception: viivii∘6and iiii∘6: DOUBLE THE BASS Exception: Consecutive first inversion chords—alternate between DOUBLE THE BASS and DO NOT DOUBLE THE BASS Second-Inversion Chords: DOUBLE THE BASS
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/23%3A_Enharmonic_Modulation
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Music_Theory_for_the_21st-Century_Classroom_(Hutchinson)/18%3A_Secondary_Diminished_Chords
