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Xerox University Microfiims 300 North Zeeb Road Ann Arbor, Michigan 48106 74-4010 FAULCONER, James H., 1945- A CATEGORIZATION OF "POPULAR-YOUTH MUSIC" EXAMPLES INTO THE HARMONIC PRACTICES OF TRADITIONAL LITERATURE FOR USE IN MUSIC CURRICULA. The University of Oklahoma, D.Mus.Ed., 1973 Education, music University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CATEGORIZATION OF "POPULAR-YOUTH MUSIC" EXAMPLES INTO THE HARMONIC PRACTICES OF TRADITIONAL LITERATURE FOR USE IN MUSIC CURRICULA A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION By JAMES H. FAULCONER Norman, Oklahoma 1973 A CATEGORIZATION OF "POPULAR-YOUTH MUSIC" EXAMPLES INTO THE HARMONIC PRACTICES OF TRADITIONAL LITERATURE FOR USE IN MUSIC CURRICULA APPROVED BY: DISSERTATION COMMITTEE ACKNOWLEDGEI^ÎENTS The writer would like to express a sincere thanks to all members of his doctoral committee. Dr. Gene Draught and Dr. Irvin Wagner provided much appreciated support for the topic and shared professional experiences with popular music. Professor Spencer Norton and Dr. Ralph Verrastro contributed guidance with editorial suggestions and organi­ zational assistance. A very special appreciation is extended to my chairman. Dr. Gail Boyd deStwolinski, whose guidance and standards of intellectual pursuit have greatly influenced the writer throughout his educational-professional career as well as during actual doctoral study. Appreciation is also expressed to Dr. Robert Glidden who was chairman of doctoral studies during the dissertation proposal and formative stages of the study. The writer is deeply grateful to Dr. Gene D. Shepherd, Professor of Education and friend who contributed greatly to editing and the organization of the study. Indebtedness is extended to Ann Dotter for strength, persistence and devoted friendship in the difficult final hours. iii IV Appreciation is extended to Jim Greenshield and Greenshield's (a local printing establishment) for the contribution of invaluable information concerning the format of the dissertation. Also, thanks is extended to the Campus Music Album for the use of recording information. In addition, it is difficult to express with mere words a sufficient appreciation to my wife, Cecilia, for the hundreds of hours of aid in editing, typing and proof­ reading the dissertation. Her completely unselfish love and devotion truly made this study and the entire degree program possible. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............. iii CHAPTER I INTRODUCTION.................. 1 Need for the S t u d y ............................. 2 Purpose of the S t u d y ........................... 8 Procedures..................................... 10 Definition of T e r m s ........................... 14 Limitations ................................... 17 CHAPTER II HARMONIC CADENCES ............................... 19 Perfect Authentic Cadence ..................... 19 Imperfect Authentic Cadence ................... 22 Half Cadence ................................... 23 Plagal Cadence . ...................... 24 Deceptive Cadence ............................. 28 S u m m a r y ............ ....................... ... 30 CHAPTER III ROOT PROGRESSION— TRIADS ............ 31 Use of the Tonic Triad in P r o g r e s s i o n ........ 33 Use of the Supertonic Triad in Progression . 38 V VI Use of the Mediant Triad in Progression .... 41 Use of the Subdominant Triad in Progression . 46 Use of the Dominant Triad in Progression .... 50 Use of the Submediant Triad in Progression . 54 Use of the Leading Tone Triad in Progression . 59 S u m m a r y ....................................... 61 CHAPTER IV ROOT PROGRESSION— DIATONIC SEVENTH CHORDS .... 62 Use of the Tonic Seventh Chord in Progression ............ 64 Use of the Supertonic Seventh Chord in Progression ................................. 70 Use of the Mediant Seventh Chord in Progression ........................... 73 Use of the Subdominant Seventh Chord in Progression ............................. 76 Use of the Dominant Seventh Chord in Progression . ........................... 79 Use of the Submediant Seventh Chord in Progression ................................. 86 Use of the Leading Tone Seventh Chord in Progression ............ 89 S u m m a r y ................................. .. 90 CHAPTER V ROOT PROGRESSION— SECONDARY DOMINANT CHORDS . 91 Use of the Dominant of the Supertonic in Progression............................... 92 Use of the Dominant Seventh of the Mediant in Progression ....................... 93 VIX Use of the Dominant Seventh of the Subdominant in Progression.... ............ 95 Use of the Dominant and the Dominant Seventh of the Dominant inProgression .... 97 Use of the Dominant and the Dominant Seventh of the Submediant in Progression . 99 Use of the Dominant Seventh of the Subtonic in Progression ............... 101 Use of Secondary Dominants in Succession .... 102 S u m m a r y ................................... 103 CHAPTER VI NINTH, ELEVENTH, THIRTEENTH AND AUGMENTED SIXTH CHORDS ......................... 105 Ninth Chords ....................... ............. 106 Chords of the Eleventh and the Thirteenth . 113 Augmented Sixth Chords ..................... 120 S u m m a r y ................................... 127 CHAPTER VII EXTENSIONS OF TONALITY ........................... 129 Borrowed C h o r d s ........................... 129 Mixture of Modes ........................... 134 Modal W r i t i n g ............................. 137 S u m m a r y ................................... 140 CHAPTER VIII SUMMARY AND CONCLUSIONS ......................... 141 Purpose of the S t u d y ..................... 141 VlXl P r o c e d u r e s ................................... 144 Findings ................................... 147 Conclusions................................... 152 Applications ................................. 154 Recommendations for Further Study ........ 155 APPENDIX A: Nomenclature of Popular-Youth Music Chord Labelings ............... 158 APPENDIX B: Root Progression— Triads ............ 161 APPENDIX C: Root Progression— Diatonic Seventh Chords ....................... 168 APPENDIX D: Root Progression— Secondary Dominant C h o r d s ..................... 174 APPENDIX E: Ninth, Eleventh, Thirteenth and Augmented Sixth Chords ............... 177 APPENDIX F: Extensions of Tonality.............. 181 APPENDIX G: Discography ......................... 184 APPENDIX H; Addresses for Recording Companies . 204 SELECTED BIBLIOGRAPHY ............................. 210 CHAPTER I INTRODUCTION The present study represents an attempt to identify and classify certain harmonic practices from the broad field of popular music for the purpose of establishing parallel utilization in the theoretical study of music from the eighteenth and nineteenth cen­ tury. The term "popular-youth music" has been desig­ nated to represent selected musical examples which are potentially familiar to young people of high school and college ages. The outcomes of the study include excerpts and a discography of popular-youth music selections which serve to illustrate the harmonic practices classified. It is not the intent of the writer to suggest that popu­ lar -youth music replace Western art music in the music theory curriculum; rather, the compilation is viewed as a source of readily available supplementary material for utilization in the study of music theory at the university level. 1 Need for the Study The heed for a study of this nature emerged

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