EVERYDAY TONALITY II

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1 Tagg: Everyday Tonality II Contents 5 FFBkTOC fm , For my comrade and colleague Franco Fabbri, for his students, and for anyone who wants to bring music theory out of its nineteenth century closet. EVERYDAY TONALITY II Towards a tonal theory of what most people hear by Philip Tagg version New York & Huddersfield: The Mass Media Music Scholars Press, 2014

2 6 Tagg: Everyday Tonality II Contents FFBkTOC fm , 14:52 Table of Contents Preface 11 Why this book? 11 Why Everyday Tonality II? 13 Basic terms 16 Who s the book for? 17 Caveats about the title and contents 17 Basic structure and contents 19 Rationale and reservations 19 New terms and compromise 20 Restriction of subject area 21 Surprising discoveries 22 Overview of chapters 22 Appendices 26 Glossary 26 References 27 Index section 27 Formal and practical 28 Cross referencing and order of topics 28 Musical source references 28 Reference system 28 Accessing and using musical sources 29 Online recordings 29 Online notation 30 Cit. mem. 30 Tonal denotation 31 Note names 31 Scale degrees, scale steps and intervals 32 Octave designation and register 35 Scale degree chord shorthand 35 Chords Lead sheet; 2. Quartal chords; 3. Roman numeral chords Reflection on the ionian as default mode 37 Music examples 37; 8va and 15ma bassa 38; Progressions and sections 38 Language and typography 39 Pronunciation 39 Spelling and punctuation 39 Capitals and italics 39 Mode names 40 Small capitals 40 Italics 40 Other practicalities 41 Abbreviations 41 Timings and durations 41 Footnotes 41 Fonts 41 Acknowledgements 43 Chapter 1. Note, pitch, tone 45 Note 45 Pitch 47 Tonal note names 49 Tone, tonal, tonality 51 Tonal and tonical 52 Tonal and modal 54 Tonality, Tonart, Tonalité, Tonicity, Tonicality 56 Other meanings of tone 58 Timbre and tone 58 Summary in 15 points + bridge 63 Chapter 2. Tuning, octave, interval 65 General tuning systems 65 Extra octave tuning 65 Intra octave tuning 67 Intervals 67 Octave 68 Intervals and intra octave tuning 70 Equal tone tuning 74 Instrument specific tuning 79 Summary in 14 points 83

3 Tagg: Everyday Tonality II Contents 7 Chapter 3. Heptatonic modes 85 Intro 85 Scales, modes, tonal vocabulary 87 Ionianisation ( ) 90 Modes and modality 92 Heptatonic: why seven? 93 The heptatonic diatonic church modes 94 Theory 94 Examples 99 Ionian: 99 Dorian: 99 Phrygian: 101 Lydian: 102 Mixolydian: 103 Aeolian: 105 Non diatonic heptatonic modes 112 Maqamat, flat twos and foreignness 114 Basic concepts and theory 114 Tetrachords and jins 118 Hijaz and phrygian 120 Viva España! 128 Balkan modes 134 Bartók modes 138 Summary in 14 points 146 One last point 147 Chapter 4. Non heptatonic modes 151 Tritonic and tetratonic 151 Pentatonic 153 Anhemitonic pentatonic 154 Doh pentatonic 154 La pentatonic 155 Ré pentatonic 156 Blues pentatonic 158 [Doh pentatonic blues 159; La pentatonic blues 161] Theoretical bridge from five to six 163 Hexatonic modes 165 No names 165 Major hexatonic 169 Minor or la hexatonic 170 Quartal or ré hexatonic 172 Non tonical modes 173 The whole tone scale 173 Octatonic 175 Final thoughts on non ionian modes 175 Summary in 14 points 177 Chapter 5. Melody 179 Defining parameters 179 General characteristics of melody 179 Metaphorical nomenclature 181 Typologies of melody 182 Structural typologies 183 Pitch contour 183 Tonal vocabulary 186 Dynamics/mode of articulation 187 Rhythmic profile 188 Body and melodic rhythm 188 Language and melodic rhythm 189 Culturally specific melodic formulae 190 Patterns of recurrence 193 Connotative typologies 196 [Dream 196; Supermusic 197; Recitation 198] Melisma 199 Summary in 11 points 202

4 8 Tagg: Everyday Tonality II Contents Chapter 6. Polyphony 205 Polyphony: three meanings 205 Drone 207 Heterophony 210 Homophony 212 Counterpoint 214 Summary in 7 points 217 Chapter 7. Chords 219 Definition and scope 219 Tertial triads 220 Roman numerals 220 Inversions 225 Recognition of tertial chords 225 Lead sheet chord shorthand 229 Explanations 231 Basic rationale 234 Symbol components 235 Name of chord root 235 Tertial triad type 236 Type of seventh 236 Ninths, elevenths, thirteenths 237 Altered fifths 238 Omitted notes 238 Added ninths and sixths 239 Suspended 4ths and 9ths 240 Inversions 240 Anomalies 242 Flat, sharp, plus and minus 242 Enharmonic spelling 242 Non tertial chords 243 Summary in 7 points 243 Chapter 8. Classical harmony 245 Intro 245 History and definitions 247 Classical harmony 249 Triads and tertial 249 Syntax, narrative, and linear function 252 Voice leading, the ionian mode, modulation and directionality 252 The key clock (circle of fifths) 255 Cadential mini excursion 258 The key clock (reprise) 261 Circle of fifths progressions 262 Anticlockwise/flatwards 262 Clockwise/sharpwards: a provisional note 264 Partial dissolution of classical harmony 265 Classical harmony in popular music 267 Summary in 6 points 271 Chapter 9. Non classical tertial harmony 273 Non classical tertial: intro and preliminaries 273 Ionian and barré 275 Tertial major triads in non classical harmony 276 Permanent Picardy third 276 Power chords 280 Acoustic tertiality 284 Unaltered non ionian tertial harmony 286 Phrygian tertial harmony 288 Lydian tertial harmony 289 Mixolydian 290 Aeolian tertial harmony 291 Summary in 5 points 292

5 Tagg: Everyday Tonality II Contents 9 Chapter 10. Quartal harmony 293 Theory 293 No sus, no add, no omit 293 Basic concepts 294 Chord shorthand 294 Quartal and quintal 295 Quartal triads and the tonical neighbourhood 295 Crossing neighbourhood borders 302 Quartal histories and examples 306 Elevens, the USA and corporate modernity 306 Euroclassical thirdlessness 315 Quartal jazz 323 Quartal rock 328 Quartal pop 333 Folk fourths and fifths 334 Banjo tunings 334 Counterpoise 336 Open tuning and drones 340 The Tailor and the Mouse 344 Summary in 18 points 349 Chapter 11. One chord changes 353 Harmonic impoverishment 353 Extensional and intensional 356 The wonders of one chord 358 G Which G? 360 Summary in 5 points 369 Chapter 12. Chord shuttles 371 About the material 372 Supertonic shuttles (I\II) 374 Plagal shuttles 375 Quintal shuttles (I\V) 381 Submediantal shuttles (I\VI) 384 Subtonic shuttles (I\$VII) 389 Shuttle or counterpoise sandwich? 396 Summary in 16 points 399 Chapter 13. Chord loops Circular motion 401 Vamps, loops and turnarounds 404 Vamp, blues and rock 411 Classic rock n roll: IV-I 412 Outgoing, medial and incoming chords 414 Beatles harmony: bridging the gap 416 Summary in 8 points 419 Chapter 14. Chord loops & bimodality 421 Ionian or mixolydian? 421 Spot the key 426 Aeolian and phrygian 433 Mediantal loops 442 Rock dorian and I III 443 Double shuttle excursion 445 Ionian mediantal narrative and folk dorian 445 Summary in 14 points 448

6 10 Tagg: Everyday Tonality II Contents Chapter 15. The Yes We Can chords 451 The four chords 452 Late renaissance and Andean bimodality 453 Four chords, four changes 455 First impressions: from zero to I 456 Harmonic departure: from I to III 458 Spanish language bull s eyes 458 English language misses 459 I - iii - vi - IV 470 I - V - vi - IV 471 IOCM in combination 474 Summary in 10 points 477 Appendices Glossary 479 Reference appendix 505 List of examples, figures and tables 551 Index 561 Alphabetical index 562 Numerical index 595 Scale degree index 595 Chord shorthand index 598 Chord sequence index 599

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