Contemporary Musicianship

CONTEMPORARY MUSICIANSHIP Page proof, not the final product. ©Oxford University Press Page proof, not the final product. ©Oxford University Press CONTEMPORARY MUSICIANSHIP Analysis and the Artist JENNIFER STERLING SNODGRASS Hayes School of Music, Appalachian State University Page proof, not the final product. ©Oxford University Press New York Oxford OXFORD UNIVERSITY PRESS Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. 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Library of Congress Cataloging-in-Publication Data CIP Data To Come: Printing number: 9 8 7 6 5 4 3 2 1 Page proof, not the final product. ©Oxford University Press Printed in the United States of America on acid-free paper TABLE OF CONTENTS Preface 000 CHAPTER 1 THE BASICS OF PITCH AND RHYTHMIC NOTATION 000 ARTIST IN RESIDENCE: THE MUSIC OF THE MOVIES 000 Chapter Objectives 000 Pitches and Clefs 000 The Grand Staff and Octave Identifi cation 000 Ledger Lines 000 The Keyboard 000 Accidentals 000 Rhythm and Meter 000 Simple Meter 000 Compound Meter 000 The Final Scene 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 Chopin, “Ballade No. 1 in G Minor” from The Pianist 000 Johann Strauss, The Blue Danube from 2001: A Space Odyssey 000 Aural Skills Conditioning 1 000 Introduction to Reading Rhythm 000 More Practice with Takadimi 000 Rhythmic Dictation 000 The Final Note: Real-World Perspective: Sharon Corbitt-House, Manager of Grand Victor Sound and Co-manager of Ben Folds 000 CHAPTER 2 MAJOR SCALES AND KEY SIGNATURES 000 ARTISTS IN RESIDENCE: FAMOUS COLLABORATIONS 000 Chapter Objectives 000 The Major Scale 000 Notating Major Scales Using the WWHWWWH Method 000 Major Key Signatures 000 Page proof, notIdentifi the cation of final Major Key Signaturesproduct. 000 ©Oxford University Press Notating Major Key Signatures 000 Table of Contents |v Artists in Residence: Collaboration 1: Norah Jones and Willie Nelson 000 Artists in Residence: Collaboration 2: Appalachia Waltz Trio 000 The Circle of Fifths 000 Artists in Residence: Collaboration 3: “We Are the World” Various Artists (1985) 000 Artists in Residence: Collaboration 4: The Three Tenors 000 Backstage Pass: When Collaborations Go Wrong, Very Very Wrong 000 Reviewing Chapter Objectives 000 Exercises 000 Aural Skills Conditioning 2 000 Introduction to Solfège 000 Sight Singing: Melodies That Move by Step 000 The Final Note: Real-World Perspective: Mark O’Connor, Composer, Educator, and Musician 000 CHAPTER 3 MINOR SCALES AND KEY SIGNATURES 000 ARTIST IN RESIDENCE: LANG LANG 000 Chapter Objectives 000 Parallel Key Relationships 000 Notating Minor Scales 000 Relative Key Relationships 000 Identifi cation of Minor Key Signatures 000 Notating Minor Key Signatures 000 Circle of Fifths 000 Artist in Residence: An Overnight Rise to Stardom 000 Natural Minor Scale 000 Harmonic Minor Scale 000 Melodic Minor Scale 000 Artist in Residence: Practice Makes Perfect 000 Artist in Residence: Giving Back 000 Reviewing Chapter Objectives 000 Exercises 000 Aural Skills Conditioning 3 000 Sight Singing: Melodies That Move by Step 000 Scale Degree Identifi cation 000 CHAPTER 4 INTERVALS 000 ARTIST IN RESIDENCE: ADELE 000 Chapter Objectives 000 Interval Quality: The Major Scale Method (1, 4, 5, 8) 000 Page proof,Inversi onnot of Intervals the 000 final product. ©Oxford University Press Backstage Pass: Rolling in the Deep 000 vi | Table of Contents Interval Quality: The Major Scale Method (2, 3, 6, 7) 000 Compound Intervals 000 The Half Step Method 000 Backstage Pass: Time for Something a Little Different and a Little More Real 000 Writing Interval on the Staff 000 Backstage Pass: The Dangers of the Rock Star Lifestyle 000 Transposition of Instruments 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 Taylor Swift, “You Belong with Me” 000 Rodgers and Hammerstein, “You’ll Never Walk Alone” 000 Aural Skills Conditioning 4 000 Hearing Seconds and Thirds 000 Singing Seconds and Thirds 000 Interval Identifi cation: Seconds and Thirds 000 Hearing and Singing Perfect Fourths and Fifths 000 Interval Identifi cation: Fourths and Fifths 000 Mixed Intervals 000 Sight Singing: Melodies with Leaps 000 Melodic Dictation 000 CHAPTER 5 TRIADS 000 ARTIST IN RESIDENCE: THE AMERICAN IDOL PHENOMENON 000 Chapter Objectives 000 America Has the Power 000 Triads 000 Closed and Open Position 000 Triads within Context 000 Backstage Pass: Winners and Losers: Where Are They Now? 000 Inverted Triad 000 Backstage Pass: Fall from Grace: Is America Getting Tired of Reality TV? 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 Kelly Clarkson, “Stronger” 000 Gounod, “Ave Maria” as sung by Jackie Evancho 000 Aural Skills Conditioning 5 000 Hearing Triads 000 Page proof, notSinging the Triads final 000 product. ©Oxford University Press Triad Identifi cation 000 Table of Contents |vii Review of Rhythmic Reading: The Addition of the Tie 000 The Final Note: Real-World Perspective: Gregg Lohman, Drummer for Kellie Pickler and Session Musician, Adjunct Professor, Tennessee State University 000 CHAPTER 6 SEVENTH CHORDS 000 ARTIST IN RESIDENCE: JOSHUA BELL 000 Chapter Objectives 000 Identifi cation of Seventh Chords 000 The Sound Quality of the Seventh Chord 000 Inversions of Seventh Chords 000 Artist in Residence: The Poet of the Violin 000 Backstage Pass: Playing for Pennies: The Subway Experiment 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 Gershwin, “I Loves You Porgy” from Porgy and Bess 000 Saint-Saëns, “Le Cygne” from Carnaval des Animaux 000 Bruno Mars, “When I Was Your Man” 000 Aural Skills Conditioning 6 000 Hearing and Singing Solfège: Joshua Bell 000 Sight Singing: Melodies That Outline Triads and Seventh Chords 000 The Final Note: Real-World Perspective: Frank Babbitt, Violist for Chicago Symphony and Lyric Opera of Chicago 000 CHAPTER 7 LEAD SHEET SYMBOLS 000 ARTIST IN RESIDENCE: ELVIS PRESLEY 000 Chapter Objectives 000 Backstage Pass: Play It Again, and Again, and Again 000 Backstage Pass: King of Rock and Roll? Who Decides? 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 Fun., “We Are Young” 000 Fun., “Some Nights” 000 Sarah Hurst, “To the Moon” 000 Aural Skills Conditioning 7 000 Hearing and Singing Seventh Chords 000 Hearing and Singing Progressions: Elvis Presley, “Can’t Help Falling in Love” 000 Seventh Chord Identifi cation 000 Hearing Sixths and Sevenths 000 Page proof,Singing notSixths and the Sevenths final 000 product. ©Oxford University Press viii | Table of Contents Interval Identifi cation: Sixths and Sevenths 000 The Final Note: Real-World Perspective: Layng Martine, 2013 Nashville Songwriters Hall of Fame Inductee 000 CHAPTER 8 ROMAN NUMERALS AND FIGURED BASS 000 ARTIST IN RESIDENCE: CECILIA BARTOLI 000 Chapter Objectives 000 Harmonic Function 000 Figured Bass 000 The Uniqueness of the Second Inversion Triad 000 Important Things to Realize about Realization 000 Artist in Residence: Schooling Americans in Italian Art Song 000 Artist in Residence: A Diva on the Stage: Bringing the 18th Century Back into Style 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 William Billings, “Here Is a Song, which Doth Belong” 000 Cecilia Bartoli, Bellini’s “Vaga luna” 000 Maria Callas, Puccini’s “O mio babbino caro” from the Opera Gianni Schicchi 000 Cecilia Bartoli, Rossini’s “Non piu mesta” from the Opera Cenerentola 000 Composition Project 000 Creative Decisions 000 Aural Skills Conditioning 8 000 Hearing Tritones 000 Singing Tritones 000 Singing Intervals (All) 000 Identifying Intervals (All) 000 Singing Triads and Seventh Chords 000 Identifying Chords 000 Singing Progressions: Mozart, “Voi che sapete” 000 Performing the Do–Ti Test 000 Finishing the Progression 000 Harmonizing Melodies 000 The Final Note: Real-World Perspective: Amy Bishop Greene, Operations Coordinator at Lyric Opera of Chicago 000 CHAPTER 9 PHRASES AND CADENCES 000 ARTIST IN RESIDENCE: MICHAEL JACKSON 000 Chapter Objectives 000 Page proof, notCadence the Types final 000 product. ©Oxford University Press Table of Contents |ix Phrases 000 Periods 000 Artist in Residence: Child Star to Solo Superstar 000 Artist in Residence: Breaking All the Records 000 Reviewing Chapter Objectives 000 Exercises 000 Analysis 000 King’s College, Mozart’s “Ave Verum Corpus,” K. 618 000 Universitäts Chor Müchen, Felix Mendelssohn, “Die Nachtigall,” Op. 59, No. 4 000 Aural Skills Conditioning 9 000 Listening for Cadences 000 Identifying Cadence Types 000 Hearing Phrases and Cadences

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