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Preface | |
The Foundation of Tonal Musicintroduction | |
Tonality, the Musical Center | |
Setting the Scene: Bach's Violin Partita No. 3, Prelude | |
Pitch and Pitch Class | |
Charting Musical Sound: Staff and Clef | |
The Division of Musical Space: Scales | |
Members of the ScaleScales and the Keyboard | |
Scale Types and Steps | |
Building Scales in the Major Mode | |
Key Signatures and the Circle of Fifths | |
Building Scales in the Minor Mode | |
Pulse, Rhythm, and Meter | |
Rhythm and Durational Symbols | |
MeterMusical Accent | |
The Meter Signature | |
Clarifying Meter | |
Intervals and Melody | |
Interval SizeConsonant and Dissonant Intervals | |
Specific Interval SizesInterval Inversion | |
Diatonic and Chromatic Half Steps | |
Melodic Writing and Listening | |
Controlling Dissonance and Consonance | |
Two-Voice Counterpart | |
First-Species Counterpoint | |
Second-Species Counterpoint | |
Triads, Inversions, Figured Bass, and Harmonic Analysis | |
TriadsTriads and Voicing, Spacing, Doubling | |
Chord Inversion | |
Figured BassTriads and the Scale: Harmonic Analysis | |
Roman Numerals | |
Introduction to Harmonic Analysis | |
Seventh Chords, Texture, and Musical Hierarchy | |
Inverted Seventh Chords | |
Analytical TipsMusical Texture | |
Seventh Chords and Harmonic Analysis | |
Hierarchy in Music: Consonance and Unaccented Dissonance | |
Sample Analyses | |
The Tonic and the Dominant, Voice Leading, and Harmonic Rhythm | |
The Interaction of Harmony, Melody, Meter, and Rhythm | |
Embellishment and Reduction | |
The Cadence | |
Introduction to Voice Leading and | |
Part Writing | |
Texture and Range | |
Comparison of Examples | |
Doubling and Spacing | |
The Dominant Seventh and Chordal Dissonance | |
Writing the Dominant Seventh Chord | |
An Analytical InterludeSummary of Part 1 | |
Tonic and Dominant Expanded | |
Introduction | |
Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords | |
Chordal Skips: The Bass | |
Neighboring and Passing Tones in the Bass and Second-Level Analysis | |
Voice Leading with Six-Three Chords | |
Playing and Writing Six-Three ChordsA New Expanding Harmony: vii06 | |
Voice Leading and Figured Bass of vii06 | |
Tonic Expansions Using IV6 | |
Dominant Expansions Using IV6 | |
More Contrapuntal Expansions and Their Impact on Composition | |
Inversions of V7, vii07, and Introduction of the MotiveV7 and Its Inversions | |
Voice Leading for Inversions of V7A Tortured Contrapuntal Chord | |
The Diminished Seventh Chord (vii07)Uses of vii07 | |
Voice Leading vii07 | |
MotivesHarmonic Cells | |
Accented Dissonances, Six-Four Chords, and Revisiting IV | |
The Accented Passing Tone (APT)Accented Neighbor Tones (AN) | |
The Suspension | |
Characteristics and Stages of the Suspension | |
The Anticipation (ANT) | |
The Pedal (PED) | |
The Appoggiatura (APP) | |
Summary of the Most Common Tones of Figuration | |
Six-Four ChordsUnaccented Six-Four Chords I | |
NeighboringUnaccented Six-Four Chords II | |
PassingUnaccented Six-Four Chords III | |
ArpeggiatingAccented Six-Four Chords | |
Writing Six-Four Chords | |
Revisiting the Subdominant | |
Invertible Counterpoint and Compound MelodyHarmonic Implications of Single Melodic Lines | |
Compound MelodySummary of Part 2 | |
New Chords That Complete The Diatonic Spectrum | |
Introduction | |
The Pre-dominant Function and the Phrase ModelThe Subdominant (IV)The Supertonic (ii)Introduction to | |
Part Writing for Pre-Dominants | |
Extending the Pre-Dominant: The IV-ii Complex | |
Extending the Phrase: Postponing the Cadence | |
Introduction to the Phrase Model | |
The Phrase Model Continued: Perceiving, Animating, and Expanding It Using New Pre-Dominant Possibilities | |
Memory and Longer Musical SpansPre-Dominant Seventh Chords: IV7 (IV6 5) and ii7 (ii6 5) | |
The Pre-Dominant-Dominant within Tonic Expansions | |
Contrapuntal CadencesExpansion of the Pre-Dominant | |
FunctionSubphrasesComposite Phrases | |
The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model | |
The SubmediantThe Submediant as Bridge in Descending Third Progressions | |
The Submediant Extends the Circle of Fifths in Descending Fifth Progressions | |
The Submediant as Tonic Substitute in Ascending Second Progressions | |
Contextual Analysis: Tonic and Dominant Embellish the Submediant | |
The Submed | |
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