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Table of Contents
|The Primary Materials and Procedures|
|Key, Scales, and Modes|
|Rhythm and Meter|
|Triads and Seventh Chords|
|Introduction to Counterpoint|
|Procedures of Four-Part Writing|
|I-V-I and Its Elaborations|
|I, V, and V7|
|I6, V6, VII6|
|Inversions of V7|
|Leading to V: IV, II, and II6|
|The Cadential 6/4|
|VI and IV6|
|Supertonic and Subdominant Seventh Chords|
|Other Uses of IV, IV6, and VI|
|V as a Key Area|
|III and VII|
|5/3, 6/3, and 6/4 Techniques|
|Elements of Figuration|
|Dissonance and Chromaticism I|
|Leading-Tone Seventh Chords|
|Remaining Uses of Seventh Chords|
|Applied V and VII|
|Dissonance and Chromaticism II|
|Seventh Chords with Added Dissonance|
|The Phrygian II (Neapolitan)|
|Augmented Sixth Chords|
|Other Chromatic Chords|
|Chromatic Voice-Leading Techniques|
|Chromaticism in Larger Contexts|
|Explanatory Tables and Charts|
|Index of Musical Examples|
|Table of Contents provided by Publisher. All Rights Reserved.|