Everyday Tonality II — Towards a tonal theory of what most people hear

Tagg brings an ethnomusicological approach to music theory. Rather than starting with a particular theoretical approach and trying to fit it to different kinds of music, he looks for patterns across different kinds of music as they are practiced, and generalizes from there. EVERYDAY TONALITY II Appendices Glossary 479 Reference appendix 505 List of examples, figures and tables 551 Index 561 Preface Why this book? Why ‘Everyday Tonality II’? Basic terms Who’s the book for? Caveats about the title and contents Basic structure and contents Rationale and reservations New terms and compromise Restriction of subject area Surprising discoveries Overview of chapters Appendices Glossary Reference appendix Internet references Index section Formal and practical Cross-referencing and order of topics Musical source references Reference system Accessing and using musical sources Online recordings Online notation ‘Cit. mem.’ Tonal denotation Note names Scale degrees, scale steps and intervals Octave designation and register Scale degree chord shorthand Chords 1. Lead-sheet chord shorthand 2. Quartal chord designation symbols 3. Roman-numeral chord shorthand An aside about the ionian as default mode Music examples (notated) 8va and 15ma bassa Progressions and sections Language and typography Pronunciation Spelling and punctuation Capitals and italics Mode names Small capitals Italics Other practicalities Abbreviations Timings and durations Footnotes Fonts Acknowledgements 1. Note, pitch, tone Note Pitch Tonal note names Tone, tonal, tonality ‘Tonal’ and ‘tonical’ ‘Tonal’ and ‘modal’ Tonality, Tonart, Tonalité, Tonicity, Tonicality Other meanings of ‘tone’ Timbre and tone Summary in 15 points Bridge 2. Tuning, octave, interval General tuning systems Extra-octave tuning Intra-octave tuning Intervals Octave Intervals and intra-octave tuning Equal-tone tuning Instrument-specific tuning Summary in 14 points 3. Heptatonic modes Intro Scales, modes, tonal vocabulary Ionianisation (^ê) Modes and ‘modality’ Heptatonic: why seven? The heptatonic-diatonic ‘church’ modes Theory Examples Ionian: Â Ê Î Ô Û â ê Dorian: Â Ê $Î Ô Û â $7 Phrygian: Â $Ê $Î Ô Û $â $ê Lydian: Â Ê Î #Ô Û â ê Mixolydian: Â Ê Î Ô Û â $ê Aeolian: Â Ê $Î Ô Û $â $ê ‘Hypo’ modes Non-diatonic heptatonic modes Maqamat, flat twos and foreignness Basic concepts and theory Tetrachords and jins Hijaz and phrygian ‘¡Viva España!’ Balkan modes Bartók modes Summary in 14 points One last point 4. Non-heptatonic modes Tritonic and tetratonic Pentatonic Anhemitonic pentatonic Doh-pentatonic La-pentatonic Ré-pentatonic Blues pentatonic Doh-pentatonic blues La-pentatonic blues Theoretical bridge from five to six Hexatonic modes No names Major hexatonic Minor or la-hexatonic Quartal or ré hexatonic Non-tonical modes The whole-tone scale Octatonic Final thoughts on non-ionian modes Summary in 14 points 5. Melody Defining parameters General characteristics of melody Metaphorical nomenclature Typologies of melody Structural typologies Pitch contour Tonal vocabulary Dynamics and mode of articulation Rhythmic profile Body and melodic rhythm Language and melodic rhythm Culturally specific melodic formulae Patterns of recurrence Connotative typologies ‘Dream’ ‘Supermusic’ ‘Recitation’ Melisma Summary in 11 points 6. Polyphony Polyphony: three meanings Drone Heterophony Homophony Counterpoint Summary in 7 points 7. Chords Definition and scope Tertial triads Roman numerals Inversions Recognition of tertial chords Lead sheet chord shorthand Lead sheet chord shorthand table: explanations Basic rationale of lead sheet chord shorthand Symbol components Note name of the chord’s root Tertial triad type Type of seventh Ninths, elevenths, thirteenths Altered fifths Additional symbols Omitted notes Added ninths and sixths Suspended fourths and ninths Inversions Anomalies Flat, sharp, plus and minus Enharmonic spelling Non-tertial chords Summary in 7 points 8. ‘Classical’ harmony Intro History and definitions Classical harmony Triads and tertial harmony Syntax, narrative, and linear ‘function Voice leading, the ionian mode, modulation and directionality The key clock (circle of fifths) Cadential mini-excursion The key clock (reprise) Circle-of-fifths progressions Anticlockwise/flatwards Clockwise/sharpwards: a provisional note Partial dissolution of classical harmony Classical harmony in popular music Main characteristics Summary in 6 points 9. Non-classical tertial harmony Non-classical tertial: intro Preliminaries Ionian mode and barré Major triads in non-classical tertial harmony Permanent Picardy third Power chord excursion Back to ‘acoustic’ tertiality Unaltered non-ionian tertial harmony Phrygian tertial harmony Lydian tertial harmony Mixolydian Aeolian tertial harmony Summary in 5 points 10. Quartal harmony Theory No ‘sus’, no ‘add’, no ‘omit’ Basic concepts Chord shorthand Quartal and quintal Quartal triads and the tonical neighbourhood Crossing neighbourhood borders Quartal histories and examples Elevens, the USA and corporate modernity Euroclassical thirdlessness Quartal jazz Quartal rock Quartal pop ‘Folk’ fourths and fifths Banjo tunings Counterpoise Open tuning and drones ‘The Tailor and the Mouse’ Summary in 18 points 11. One-chord changes Harmonic impoverishment? Extensional and intensional The wonders of one chord G? Which G? Summary in 5 points 12. Chord shuttles About the material Supertonic shuttles (I\II) Plagal shuttles Quintal shuttles (I\V) Submediantal shuttles (I\VI) Subtonic shuttles (I \$VII) Shuttle or counterpoise sandwich? Summary in 16 points 13. Chord loops 1 Circular motion Vamps Loops and turnarounds Vamp, blues and rock ‘Classic’ rock’n’roll: IV-I Outgoing, medial and incoming chords Beatles harmony: bridging the gap Summary in 8 points 14. Chord loops & bimodality Ionian or mixolydian? Spot the key Aeolian and phrygian Mediantal loops Rock dorian and I-III Double shuttle excursion Ionian mediantal ‘narrative’ and ‘folk’ dorian Summary in 14 points 15. The Yes We Can chords The four chords Late renaissance and Andean bimodality Four chords, four changes First impressions: from zero to I Harmonic departure: from I to III Spanish-language bull’s-eyes English-language misses I - iii - vi - IV I - V - vi - IV IOCM in combination Summary in 10 points Glossary Reference appendix List of examples, figures and tables Indexes Icons, information and typographical conventions Caveats Alphabetical index X Scale-degree index X Pentatonic modes Hexatonic modes Heptatonic modes Other scale-degree combinations A Chord shorthand index A k Chord sequence index k I-VII II III IV V VI VII LAST PAGE Dominant, subdominant, perfect cadence, etc. handy terms when studying the standard euroclassical and jazz repertoires but not much use if you want to understand the tonal idioms of rock, rebetiko, flamenco, son-bolero, traditional music from the British Isles or the Balkans, news jingles, and all those other musics in which final cadences (if any) dont have to be perfect, where interrupted cadences (if any) can be final, and where a subdominant (if any) has no dominant to which it can be sub. This book replaces the ethnocentric confusion of conventional music theory with concepts that make sense of everyday tonality like the melodic hexatonicism of Its Not Unusual, unusual in music theory, not in real life. The quartal sounds of mountain banjo tuning, corporate jingles, Bartk quartets, TV themes and folk-rock accompaniment are another focus of attention, as are the functions of modal harmonys chord loops and shuttles, flat two modes, bimodal reversibility, tonal counterpoise, etc. Come out of the nineteenth-century music theory closet, writes Tagg. With his inimitable wit and... attention to detail, he rewrites the rule book and makes you question commonly held assumptions about music theory... In a chapter on one-chord harmony Tagg demonstrates tonal elaboration and its relationship to groove and style using sixteen different popular music examples showing how a single chord on a lead sheet does not imply harmonic impoverishment. He also shows how chord shuttles are ongoing tonal states, not the narrative processes that traditional theory would have us believe to be of prime importance. I recommend you get inside Taggs terminology, try out his ideas with musical examples of your own and make up your own mind. (Sue Miller, Senior Lecturer in Music, Anglia Ruskin University, Cambridge) This book contains 289 music examples, and 113 figures and tables, including complete chord charts and explanations of both lead-sheet and roman-numeral chord symbols. Its for anyone who can read staff notation and who wants to hear the music of everyday life with open ears and an unprejudiced mind.