Barcelona Publishers: Healing Heritage Reviews Table of Contents

Healing Heritage:
Paul Nordoff Exploring the Tonal Language of Music
Reviews
Table of Contents

Reviews - Click to Read Review
	Brynjulf Stige in the Nordic Journal of Music Therapy, 1999, 8(2), 111-113.

TABLE OF CONTENTS
FOREWORD	xiii
ACKNOWLEDGMENTS	xv
INTRODUCTION A short biography of Paul Nordoff The setting of the course The students The relevance of these explorations to other client groups Preparing the text On the typography The recordings A concluding perspective	xvii xvii xix xx xxi xxi xxii xxiii xxiii
EXPLORATION ONE Scales: Steps and Skips The dynamic properties of scales Scale passages and skips in melodic construction The scale as a musical statement Dynamics of scalar movement Stepwise movement in the bass	1 1 2 5 6 8
EXPLORATION TWO Steps, Skips, and Creative Leaps Exploring inherent tonal directions From the tonic upward From the second scale tone From the third scale tone Including the fourth scale tone Including the fifth and higher tones Inherent directions and creative leaps Completing melodic phrases Enlivening the melodic role of the dominant The need for creative leaps Editor’s note	13 13 13 14 15 16 17 18 19 21 21 22
EXPLORATION THREE Tonal Directions and Creative Leaps in Polyphony and Homophony Directions of tones, reviewed Tonal directions and creative leaps in Bach fugue subjects Homophony: the influences of harmony upon tonal directions A principle of counterpoint disregarded Tonal directions in harmonic writing Editor’s note	23 23 24 27 29 29 30
EXPLORATION FOUR The Life of the Intervals Zuckerkandl’s imaginative thinking about music Experiencing intervals Steiner’s interval concept The character of the octave Practicing experiencing intervals Becoming aware of the life of the intervals in a composition Editor’s note	32 32 32 36 37 38 40
EXPLORATION FIVE The Interval Concept and the Potential in the Single Tone The interval concept and its application to therapy The potential of the single tone Studying, absorbing, and applying: the living process	42 42 42 45
EXPLORATION SIX Elaboration of the Interval Concept Inner balance, tension, then resolution The diminished seventh chord Analyzing intervallic movement Deriving inspiration from the great composers Intervals in alteration	46 47 47 48 51 51
EXPLORATION SEVEN Triads and Inversions The triad in the root position The inherent qualities of inversions The sixth chord Inverted triads The six-four chord	52 52 52 52 54 57
EXPLORATION EIGHT Triads and Inversions in Their Relation to the Interval Concept The intervallic components of triads and inversions Freeing triads from harmonic tradition The sixth chord The six-four chord Balancing tonal directions and rhythmic freedom Debussy’s contribution to creative freedom	66 66 67 70 71 73 79
EXPLORATION NINE Two Musical Events An expressive change of tone in a melody An uplifting change of harmony Harmonizations with a common sung tone The harmonic-emotional experience of inversions	80 80 81 82 84
EXPLORATION TEN Inversions and the Directions of Tones The importance of cultural nourishment Becoming more aware of tonal directions Musical limits as aids to improvisation Mompou’s use of sixth, six-four, and seventh chords	88 88 88 90 91
EXPLORATION ELEVEN Introduction to Seventh Chords The liberation of the dominant seventh chord The diminished seventh and its resolutions The dominant seventh and its resolutions	99 99 101 103
EXPLORATION TWELVE A Singing Experience with Seventh Chords The roles of seventh chords The seventh chord in melodic construction Editor’s note	104 105 107 110
EXPLORATION THIRTEEN Tension and Relaxation Techniques for creating musical tension Melodic ornaments; prepared non-chordal tones Playing to emphasize “ugliness” Superimposing a seventh over the tonic Unprepared non-chordal tones Unprepared chords; silences; dynamics; harmonic progressions The momentum of a composition Tonal fluidity Chromaticism in chord progressions	111 111 112 114 115 117 119 123 125 131
EXPLORATION FOURTEEN Musical Archetypes, the Children’s Tune, and an Introduction to the Pentatonic Musical idioms as archetypes The children’s tune as an archetype The connections among musical idioms Reaching beyond race and culture for the universal Harmonizing the children’s tune Organum, the children’s tune, and Chinese music Further harmonic developments in the pentatonic The pentatonic modes Pentatonic dominant-tonic harmonization Kublai Kahn and the pentatonic The “dyad” as the basis of pentatonic harmony Further harmonic, rhythmic, and stylistic elaborations Introducing the “Chinese seventh chord” Editor’s note	134 134 135 135 136 137 138 140 141 143 143 144 145 147
EXPLORATION FIFTEEN Pentatonic Harmonization and Styles of Improvisation Clinical improvisation using pentatonic harmony Harmonic thirds are inadmissible in the pentatonic Forming intervals on each tone of the scale The pentatonic excludes the intervals of greatest tension Improvising freely with the admissible intervals Tonal directions and resolutions Resolving the dominant: the fifth scale tone Three-tone “pentatonic seventh chords” Exercises in pentatonic improvisation Ostinato accompaniments The special qualities of the pentatonic Two-part melodies Barton, an illustration of clinical application Aspects of a Javanese gamelan style Pentatonic versus diatonic harmonization A student present a Chinese folk song Editor’s note	150 150 150 151 153 153 154 154 156 158 159 160 160 160 162 164 166 167
EXPLORATION SIXTEEN Tonal Relationships That Link Archetypal Scale Forms Improvising in the pentatonic with diatonic passing tones Altered pentatonics and their clinical effects Altering the pentatonic to introduce tension Changing two tones creates a powerful change of mood Moving from altered pentatonics into the diatonic modes Moving from the modes into Middle Eastern scales Editor’s note	168 168 171 171 172 174 176 180
EXPLORATION SEVENTEEN Introduction to the Spanish Idiom Similarities between organum and the Spanish idiom The Arabian influence and the dance-song-dance form The cante hondo The origin of the habanera rhythm Nin-Culmell’s compositions in Spanish regional styles Editor’s note	181 181 182 184 186 189 193
EXPLORATION EIGHTEEN A Review of major and Minor Thirds, Leading to an Introduction to Romantic Music Minor and major thirds in the pentatonic Thirds as the foundation of Western harmonic construction The fallacy of considering major as happy and minor as sad Sudden, expressive shifts between major and minor The triad as an event Finding the right chords when writing music for therapy Singing non-chordal tones to lead into the romantic idiom Using romantic music to reach adolescents The cultural and clinical value of the song literature On the discerning appreciation of Schubert’s songs An experience of the romantic idiom in a Fauré song In conclusion	194 194 194 197 198 198 198 199 200 203 203 204 205 206
REFERENCES	209
ADDITIONAL READING ON NORDOFF-ROBBINS MUSIC THERAPY	211
CREDITS FOR COPYRIGHTED MATERIAL	213