Table of Contents

• 1. RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
• 2. MELODY: Stepwise Melodies, Major Keys
  RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
• 3. MELODY: Leaps within the Tonic Triad, Major Keys
  RHYTHM: Simple Meters
• 4. MELODY: Leaps within the Tonic Triad, Major Keys
  RHYTHM: Compound Meters; The Beat and Its Division into Three Parts
• 5. MELODY: Minor Keys; Leaps within the Tonic Triad
  RHYTHM: Simple and Compound Meters
• 6. MELODY: Leaps within the Dominant Triad (V); Major and Minor Keys
  RHYTHM: Simple and Compound Meters
• 7. THE C CLEFS: Alto and Tenor Clefs
• 8. MELODY: Further Use of Diatonic Leaps
  RHYTHM: Simple and Compound Meters
• 9. MELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps
  RHYTHM: Simple and Compound Meters
• 10. RHYTHM: The Subdivision of the Beat: The Simple Beat into Four Parts, The Compound Beat into Six Parts
• 11. MELODY: Leaps within the Tonic and Dominant Triads
  RHYTHM: Subdivision in Simple and Compound Meters
• 12. MELODY: Further Use of Diatonic Leaps
  RHYTHM: Subdivision in Simple and Compound Meters
• 13. RHYTHM and MELODY: Syncopation
• 14. RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values
• 15. MELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major
• 16. MELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key
• 17. RHYTHM and MELODY: Changing Meter Signatures; The Hemiola; Less Common Meter Signatures
• 18. RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi
• 19. MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation
• 20. MELODY: The Diatonic Modes
• 21. RHYTHM and MELODY: The Twentieth and Twenty-First Centuries

About the Author

Nancy Rogers is an Associate Professor of Music Theory at Florida State University. With research interests including music cognition and its pedagogical implications, Dr. Rogers has presented papers at national and international conferences, including meetings of the Society for Music Theory, the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Conference on Interdisciplinary Musicology. She was a keynote speaker at the 2009 Musical Ear conference held at Indiana University. Several of her recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy and Em Pauta.

Professor Rogers received her PhD in music theory from the Eastman School of Music; she is also a Mellon Fellow in the Humanities. She has served as President of Music Theory Southeast, Secretary of the Society for Music Theory and Treasurer of Music Theory Midwest. Before coming to Florida State University, she served on the faculties of Northwestern University, the University of Iowa and Lawrence University.