
Fundamentals of Music
Rudiments, Musicianship, and Composition
D. J. Henry(Author)
Pearson (Publisher)
5th Edition
Published on 9. May 2008
Book
Paperback/Softback
456 pages
978-0-13-244826-0 (ISBN)
Article exhausted; check for reprint
Description
Substatially revised,Fundamentals of Music, Fifth Edition, presents a complete introduction to music fundamentals and basic musicianship. The author employs a fresh, student-centered style to introduce and explain traditional topics such as notation, meter, scales, triads, and chords. The text informs, guides, and encourages students with basic theoretical information that is balanced with helpful suggestions for study, copious exercise material, introductory aural skills training, and self-tests with answers.
For instructors who include basic musicianship skills in the fundamentals course, the (recorded) ear-training drills and keyboard studies, together with a variety of sight-singing excerpts will provide ample material.
For instructors who include basic musicianship skills in the fundamentals course, the (recorded) ear-training drills and keyboard studies, together with a variety of sight-singing excerpts will provide ample material.
More details
Edition
5th edition
Language
English
Place of publication
United States
Publishing group
Pearson Education (US)
Target group
Professional and scholarly
Dimensions
Height: 235 mm
Width: 178 mm
Weight
644 gr
ISBN-13
978-0-13-244826-0 (9780132448260)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
New editions

Earl Henry | Jennifer Snodgrass | Susan piagentini
Fundamentals of Music
Rudiments, Musicianship, and Composition Plus MySearchLab with eText -- Access Card Package
Book
07/2012
6th Edition
Pearson
€128.47
Article is exhausted; no reprint
Previous edition

D. J. Henry
Fundamentals of Music
Book
08/2003
4th Edition
Pearson
€57.03
Article exhausted; check for reprint
Content
<b>
Preface xiii
</b><i>The Fifth Edition, xiv
Using the Text, xiv
The Compact Disc, xv
Web Site: uppervoices.com, xv
</i>Ear-Training Drills, xv
Chapter Self Tests, xvi
Unit Reviews, xvi
Interactive Fundamental Drills, xvi
<i>Acknowledgments, xvii
</i><b>
UNIT 1
<i><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">1 </i><P style="MARGIN: 0px" align=left text-align="left">Notating Rhythm 1</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 1</i><P style="MARGIN: 0px" align=left text-align="left">Traditional Western Music, 1<P style="MARGIN: 0px" align=left text-align="left">Notation, 2<i><P style="MARGIN: 0px" align=left text-align="left">The Notation of Rhythm, 2</i><P style="MARGIN: 0px" align=left text-align="left">Note Values, 2<P style="MARGIN: 0px" align=left text-align="left">Rests Values, 5<P style="MARGIN: 0px" align=left text-align="left">Measures, 7<P style="MARGIN: 0px" align=left text-align="left">Time Signatures, 8<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Note and Rest Values, 9<P style="MARGIN: 0px" align=left text-align="left">Smaller Rhythmic Values, 11<P style="MARGIN: 0px" align=left text-align="left">* A Step Further: Larger and Smaller Note Values, 13<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Eighths and Sixteenths, 14<P style="MARGIN: 0px" align=left text-align="left">The Dot, 15<P style="MARGIN: 0px" align=left text-align="left">The Tie, 15<P style="MARGIN: 0px" align=left text-align="left">Flags and Beams , 17<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 19<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 23<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">2 </i>Notating Pitch 25</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 25</i><P style="MARGIN: 0px" align=left text-align="left">The Staff, 25<P style="MARGIN: 0px" align=left text-align="left">The Clef, 26<P style="MARGIN: 0px" align=left text-align="left">Stem Direction, 27<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Learning the "ABCs," 28<P style="MARGIN: 0px" align=left text-align="left">Ledger Lines, 30<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Clefs and Ledger Lines, 30<b></b><i><P style="MARGIN: 0px" align=left text-align="left">The Octave, 31</i><P style="MARGIN: 0px" align=left text-align="left">The Grand Staff, 33<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 2-1, 35<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 37<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 43<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">3 </i>The Keyboard 45</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 45<P style="MARGIN: 0px" align=left text-align="left">The Keyboard, 46</i><P style="MARGIN: 0px" align=left text-align="left">* Musicianship 3-1, 49<i><P style="MARGIN: 0px" align=left text-align="left">Accidentals, 51</i><P style="MARGIN: 0px" align=left text-align="left">The Sharp, 51<P style="MARGIN: 0px" align=left text-align="left">The Flat, 52<P style="MARGIN: 0px" align=left text-align="left">The Natural Sign, 52<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 3-2, 54<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Notating Accidentals, 56<P style="MARGIN: 0px" align=left text-align="left">Double Sharps and Double Flats, 56<P style="MARGIN: 0px" align=left text-align="left">Enharmonic Equivalents, 57<i><P style="MARGIN: 0px" align=left text-align="left">Octave Designation, 58<P style="MARGIN: 0px" align=left text-align="left">Building Skills, 61<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 65</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">UNIT 2<i><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">4 </i>Simple Meters 67</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 67<P style="MARGIN: 0px" align=left text-align="left">Metric Accent, 68</i><P style="MARGIN: 0px" align=left text-align="left">Triple Meter, 68<P style="MARGIN: 0px" align=left text-align="left">Duple Meter, 70<P style="MARGIN: 0px" align=left text-align="left">Quadruple Meter, 71<P style="MARGIN: 0px" align=left text-align="left">Rest Notation, 71<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Using Counting Syllables, 73<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 4-1, 73<i><P style="MARGIN: 0px" align=left text-align="left">Beat Division and Subdivision, 75</i><P style="MARGIN: 0px" align=left text-align="left">Meters with an Eighth-Note Beat, 79<i><P style="MARGIN: 0px" align=left text-align="left">Alla Breve </i>and Common Time, 79<P style="MARGIN: 0px" align=left text-align="left">* A Step Further: Conducting, 79<P style="MARGIN: 0px" align=left text-align="left">Syncopation, 80<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Beaming, 82<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Counting Syllables, 83<P style="MARGIN: 0px" align=left text-align="left">Transcription and Arrangement, 83<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 4-2, 84<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 87<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 91</i><P style="MARGIN: 0px" align=left text-align="left"><b> <i><P style="MARGIN: 0px" align=left text-align="left">5 </i>Major Scales and Keys 95</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 95<P style="MARGIN: 0px" align=left text-align="left">The Major Scale, 95</i><P style="MARGIN: 0px" align=left text-align="left">Scale Degrees, 97<P style="MARGIN: 0px" align=left text-align="left">Diatonic Pitches, 98<P style="MARGIN: 0px" align=left text-align="left">Diatonic and Chromatic Half Steps, 98<P style="MARGIN: 0px" align=left text-align="left">Major and Minor Modes, 100<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 5-1, 101<i><P style="MARGIN: 0px" align=left text-align="left">Transposing Major Scales, 101</i><P style="MARGIN: 0px" align=left text-align="left">* Musicianship 5-2, 104<i><P style="MARGIN: 0px" align=left text-align="left">Major Keys, 105</i><P style="MARGIN: 0px" align=left text-align="left">Key Signature, 105<P style="MARGIN: 0px" align=left text-align="left">Order of Sharps and Flats, 107<P style="MARGIN: 0px" align=left text-align="left">Major Key Signatures, 109<i><P style="MARGIN: 0px" align=left text-align="left">The Circle of Fifths, 110</i><P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Learning Key Signatures, 112<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 5-3, 114<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 117<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 121<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">6 </i>Intervals 123</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 123<P style="MARGIN: 0px" align=left text-align="left">Interval Type, 125</i><P style="MARGIN: 0px" align=left text-align="left">* Musicianship 6-1, 127<i><P style="MARGIN: 0px" align=left text-align="left">Interval Quality, 128</i><P style="MARGIN: 0px" align=left text-align="left">Perfect Intervals, 128<P style="MARGIN: 0px" align=left text-align="left">Understanding Quality by Major-Scale Comparison, 129<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 6-2, 131<P style="MARGIN: 0px" align=left text-align="left">* A Step Further: Doubly Augmented and Diminished Intervals, 133<P style="MARGIN: 0px" align=left text-align="left">Major/Minor Intervals, 133<P style="MARGIN: 0px" align=left text-align="left">Guidelines for Interval Construction and Identification, 138<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 6-3, 140<i><P style="MARGIN: 0px" align=left text-align="left">Interval Inversion, 142</i><P style="MARGIN: 0px" align=left text-align="left">Writing Intervals Below a Given Pitch, 144<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 147<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 153<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">7 </i>Compound Meters 155</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 155</i><P style="MARGIN: 0px" align=left text-align="left">Note Values in Compound Meters, 156<i><P style="MARGIN: 0px" align=left text-align="left">Compound Time Signatures, 158</i><P style="MARGIN: 0px" align=left text-align="left">Beat Subdivision, 161<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Compound Meter Signatures, 162<P style="MARGIN: 0px" align=left text-align="left">* Calligraphy: Beaming in Compound Meters, 163<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Counting in Compound Meters, 164<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 7-1, 165<i><P style="MARGIN: 0px" align=left text-align="left">Borrowed Division, 168</i><P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Counting the Borrowed Division, 172<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 7-2, 173<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 175<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 181</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">UNIT 3<i><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">8 </i>Minor Scales and Keys 185</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 185</i><P style="MARGIN: 0px" align=left text-align="left">Minor Scales, 186<P style="MARGIN: 0px" align=left text-align="left">Minor Key Signatures, 188<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 8-1, 192<i><P style="MARGIN: 0px" align=left text-align="left">Variations in Minor, 193</i><P style="MARGIN: 0px" align=left text-align="left">Natural (Pure) Minor, 193<P style="MARGIN: 0px" align=left text-align="left">Harmonic Minor, 194<P style="MARGIN: 0px" align=left text-align="left">Melodic Minor, 196<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 8-2, 200<i><P style="MARGIN: 0px" align=left text-align="left">Key Relationships, 202</i><P style="MARGIN: 0px" align=left text-align="left">The Parallel Relationship, 202<P style="MARGIN: 0px" align=left text-align="left">The Relative Relationship, 202<P style="MARGIN: 0px" align=left text-align="left">* Tricks of the Trade: Parallel Major and Minor Keys, 203<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 8-3, 206<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 207<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 217<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">9 </i>Modes and Other Scales 219</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 219<P style="MARGIN: 0px" align=left text-align="left">The Modes, 219</i><P style="MARGIN: 0px" align=left text-align="left">Major and Minor Modes, 220<P style="MARGIN: 0px" align=left text-align="left">Transposing Modes, 222<P style="MARGIN: 0px" align=left text-align="left">Transposition and Recognition Through Key Signature, 224<i><P style="MARGIN: 0px" align=left text-align="left">Other Modes and Scales, 227</i><P style="MARGIN: 0px" align=left text-align="left">Pentatonic Scale, 227<P style="MARGIN: 0px" align=left text-align="left">Minor Pentatonic and Blues Scales, 229<P style="MARGIN: 0px" align=left text-align="left">Whole-Tone Scale, 230<P style="MARGIN: 0px" align=left text-align="left">Locrian Mode, 231<P style="MARGIN: 0px" align=left text-align="left">Chromatic Scale, 232<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 9-1, 233<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 235<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 239<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">10 </i>Introduction to Form 241</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 241</i><P style="MARGIN: 0px" align=left text-align="left">Building Phrases, 241<i><P style="MARGIN: 0px" align=left text-align="left">Unifying and Extending Phrases, 244</i><P style="MARGIN: 0px" align=left text-align="left">Repetition, 245<P style="MARGIN: 0px" align=left text-align="left">Variation, 245<P style="MARGIN: 0px" align=left text-align="left">Sequence, 246<P style="MARGIN: 0px" align=left text-align="left">Contrast, 248<i><P style="MARGIN: 0px" align=left text-align="left">The Period, 250<P style="MARGIN: 0px" align=left text-align="left">Phrase Group, 252<P style="MARGIN: 0px" align=left text-align="left">Double Period, 255<P style="MARGIN: 0px" align=left text-align="left">Other Forms, 257</i><P style="MARGIN: 0px" align=left text-align="left">Verse and Refrain, 258<P style="MARGIN: 0px" align=left text-align="left">Thirty-Two Bar Song Form, 259<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 263<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 269</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">UNIT 4<i><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">11 </i>Triads 273</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 273<P style="MARGIN: 0px" align=left text-align="left">Triad Quality, 274</i><P style="MARGIN: 0px" align=left text-align="left">Major and Minor Triads, 274<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 11-1, 276<P style="MARGIN: 0px" align=left text-align="left">Diminished and Augmented Triads, 277<P style="MARGIN: 0px" align=left text-align="left">Identifying and Constructing Triads, 278<P style="MARGIN: 0px" align=left text-align="left">Triads and Stability, 279<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 11-2, 280<i><P style="MARGIN: 0px" align=left text-align="left">Inverted Triads, 281</i><P style="MARGIN: 0px" align=left text-align="left">First and Second Inversions, 281<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 11-3, 285<i><P style="MARGIN: 0px" align=left text-align="left">Constructing Triads with Given Third or Fifth, 285</i><P style="MARGIN: 0px" align=left text-align="left">Triads with Given Third, 285<P style="MARGIN: 0px" align=left text-align="left">Triads with Given Fifth, 286<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 11-4, 287<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 291<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 299<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">12 </i>Chords and Symbols 303</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms and Symbols, 303<P style="MARGIN: 0px" align=left text-align="left">Triad and Chord Identification, 303</i><P style="MARGIN: 0px" align=left text-align="left">Doubling, 304<P style="MARGIN: 0px" align=left text-align="left">Identifying Chords, 305<P style="MARGIN: 0px" align=left text-align="left">Arpeggiation, 307<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 12-1, 309<i><P style="MARGIN: 0px" align=left text-align="left">Chord Symbols, 310<P style="MARGIN: 0px" align=left text-align="left">Roman-Numeral Analysis, 312</i><P style="MARGIN: 0px" align=left text-align="left">Diatonic Triads in Major Keys, 312<P style="MARGIN: 0px" align=left text-align="left">Arabic-Numeral Labels, 315<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 12-2, 318<P style="MARGIN: 0px" align=left text-align="left">Diatonic Triads in Minor Keys, 319<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 323<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 329</i><P style="MARGIN: 0px" align=left text-align="left"><b> <i><P style="MARGIN: 0px" align=left text-align="left">13 </i>Tonality 331</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 331<P style="MARGIN: 0px" align=left text-align="left">Texture, 331</i><P style="MARGIN: 0px" align=left text-align="left">Homophony, 332<P style="MARGIN: 0px" align=left text-align="left">* A Step Further: Improvisation, 333<i><P style="MARGIN: 0px" align=left text-align="left">Tonality, 334</i><P style="MARGIN: 0px" align=left text-align="left">Melodic Tendency, 334<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 13-1, 337<i><P style="MARGIN: 0px" align=left text-align="left">Harmonic Function, 339</i><P style="MARGIN: 0px" align=left text-align="left">Tonic, Predominant, and Dominant Functions, 339<i><P style="MARGIN: 0px" align=left text-align="left">Harmonic Dissonance, 344</i><P style="MARGIN: 0px" align=left text-align="left">Seventh Chords, 345<P style="MARGIN: 0px" align=left text-align="left">Seventh Chords and Symbols, 347<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 13-2, 350<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 351<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 357<b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">14 </i>Harmonization 359</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 359<P style="MARGIN: 0px" align=left text-align="left">Harmonization, 359</i><P style="MARGIN: 0px" align=left text-align="left">Harmonic Cadences, 360<P style="MARGIN: 0px" align=left text-align="left">Planning Cadences in a Melody, 365<i><P style="MARGIN: 0px" align=left text-align="left">Harmonic Rhythm, 371</i><P style="MARGIN: 0px" align=left text-align="left">Planning Harmonic Rhythm in a Harmonization, 374<i><P style="MARGIN: 0px" align=left text-align="left">Harmonizing a Melody, 376</i><P style="MARGIN: 0px" align=left text-align="left">Nonchord Tones, 376<P style="MARGIN: 0px" align=left text-align="left">Vocal Ranges, 378<P style="MARGIN: 0px" align=left text-align="left">Keys and Transposition, 379<P style="MARGIN: 0px" align=left text-align="left">Planning the Harmony, 381<P style="MARGIN: 0px" align=left text-align="left">Issues in Jazz and Popular Styles, 384<P style="MARGIN: 0px" align=left text-align="left">* A Step Further: Copyright, 385<P style="MARGIN: 0px" align=left text-align="left">* Musicianship 14-1, 387<i><P style="MARGIN: 0px" align=left text-align="left">Building Skills, 389<P style="MARGIN: 0px" align=left text-align="left">Creative Projects, 393</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">APPENDIXES<P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">Appendix A: The Nature of Sound 395</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 395<P style="MARGIN: 0px" align=left text-align="left">Sound Waves, 395<P style="MARGIN: 0px" align=left text-align="left">Amplitude and Intensity, 396<P style="MARGIN: 0px" align=left text-align="left">Timbre and Quality, 396<P style="MARGIN: 0px" align=left text-align="left">The Harmonic Series, 397<P style="MARGIN: 0px" align=left text-align="left">Duration and Length, 398</i><P style="MARGIN: 0px" align=left text-align="left"><b> <P style="MARGIN: 0px" align=left text-align="left">Appendix B: Terms and Symbols of Tempo and Expression 399</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 399<P style="MARGIN: 0px" align=left text-align="left">Tempo, 399<P style="MARGIN: 0px" align=left text-align="left">Dynamics, 400<P style="MARGIN: 0px" align=left text-align="left">Expression, 400<P style="MARGIN: 0px" align=left text-align="left">Short Glossary of Italian Terms, 401</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">Appendix C: The C Clefs 403</b><i><P style="MARGIN: 0px" align=left text-align="left">Essential Terms, 403<P style="MARGIN: 0px" align=left text-align="left">Alto and Tenor Clefs, 403<P style="MARGIN: 0px" align=left text-align="left">Soprano and Mezzo-Soprano Clefs, 404<P style="MARGIN: 0px" align=left text-align="left">Building Skills, 405</i><b><P style="MARGIN: 0px" align=left text-align="left"> <P style="MARGIN: 0px" align=left text-align="left">Answers to Aural Skills Self Tests 409<P style="MARGIN: 0px" align=left text-align="left">Glossary of Terms and Symbols 413<P style="MARGIN: 0px" align=left text-align="left">Index 425</b>