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Preface | |
A Message to the Student: Why Do We Study Music Theory? | |
Introduction: The Fundamentals of Music | |
Pitch: Notation and Intervals | |
The Notation of Pitch | |
Intervals | |
Consonant and Dissonant Intervals | |
Rhythm and Meter | |
Durational Symbols | |
Pulse, Beat, and Meter | |
Tempo | |
Simple and Compound Meters | |
The Notation of Meter | |
Metric Accent | |
Choosing a Meter to Notate a Melody | |
Asymmetrical Meters | |
Irregular Divisions of the Beat | |
Irregular Rhythmic and Metric Relationships | |
Some Notes on the Correct Notation of Rhythm | |
Tonality: Scales and Keys | |
Modes and Scales | |
Key Signatures | |
Other Modes and Scales | |
The Rudiments of Harmony I: Triads and Seventh Chords | |
Chords | |
Triads | |
Seventh Chords | |
The Rudiments of Harmony II: Labeling Chords. Musical Texture | |
Harmonic Function, Roman Numerals | |
Figured Bass | |
Musical Texture | |
Introduction to Species Counterpoint | |
The Melodic Line in Species Counterpoint | |
General Guidelines for Two-part Counterpoint | |
First Species (1:1) | |
Second Species (2:1) | |
Third Species (4:1) | |
Fourth Species (Syncopated) | |
Diatonic Harmony | |
The Connection of Chords | |
Harmonic Progression | |
Notating, Voicing, and Spacing Chords | |
Chord Connection: the Principles of Part-writing | |
Voice-leading Guidelines for the Three Basic Types of Progressions | |
Melodic Style | |
Voice Independence | |
Why All These Rules? | |
The Tonic and Dominant Triads in Root Position | |
The Tonic Triad | |
The Dominant Triad | |
The I-V-I Progression | |
Characteristic Soprano-Bass Patterns | |
The I-V-I Progression as a Form-generating Structure | |
Pitch Patterns | |
Harmonic Function; the Subdominant Triad in Root Position | |
The Basic Harmonic Functions | |
The Subdominant Triad | |
Voice-Leading Guidelines | |
Characteristic Soprano-Bass Patterns | |
A Model to Elaborate the Fundamental Progression | |
Pitch Patterns | |
Triads in First Inversion | |
The Triad in First Inversion: Uses and Function | |
The Neighbor V6 | |
Elaborating the I-V-I Progression | |
Voice-Leading Guidelines | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
The Supertonic: Melody Harmonization | |
The Supertonic in Root Position | |
The Supertonic in First Inversion | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Harmonizing a Melody | |
Pitch Patterns | |
Nonchord Tones | |
The Passing Tone | |
The Neighbor Note | |
The Anticipation | |
Incomplete Neighbors | |
Voice-Leading Guidelines | |
Suspensions | |
Pedal Point | |
6/4 Chords | |
Consonant 6/4 Chords: The Arpeggiated 6/4 | |
Dissonant 6/4 Chords | |
The Neighbor 6/4 | |
The Passing 6/4 | |
The Cadential 6/4 | |
Voice-Leading Guidelines | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
The Dominant Seventh and Its Inversions | |
V7 in root position | |
Inversions of the Dominant Seventh | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
The Leading-Tone Triad | |
Doubling and Voice Leading | |
The Passing viio6 | |
viio6 as a Dominant Substitute | |
The Leading-Tone Cadence | |
Voice-Leading Guidelines | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
Cadences | |
Authentic Cadences | |
The Half Cadence | |
The Plagal Cadence | |
The Deceptive Cadence | |
Cadences: Summary and Voice Leading | |
Pitch Patterns | |
Melodic Organization I: Phrase Structure | |
Motive | |
Phrase | |
Period Structure | |
Form Diagrams | |
More on Period Structure | |
Phrase Group | |
Melodic Organization II: Thematic | |
Development; Phrase Extension | |
Melodic Developmental Techniques | |
Phrase Extension | |
Harmonic Rhythm; Metric Reduction | |
Harmonic Rhythm | |
Metric Reduction | |
Metric Reduction and Performance | |
Compound Melody | |
Writing Your Own Progresisons | |
The Mediant, Submediant, and Subtonic Triads | |
The Mediant and Submediant Triads as Prolongations of the Tonic | |
Other Uses of the Mediant and Submediant | |
Voice-Leading Guidelines | |
The Subtonic | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Harmonizing a Melody with Keyboard Figuration | |
Pitch Patterns | |
Other Diatonic Seventh Chords | |
General Doubling and Voice-Leading Guidelines | |
The Leading-Tone Sevenths | |
The Half-Diminished Seventh | |
The Fully-Diminished Seventh | |
The Supertonic Seventh | |
The Subdominant Seventh | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
Harmonic Sequences | |
The Descending Circle-of-5ths Sequence | |
The Ascending Circle-of-5ths Sequence | |
Sequences by Descending 3rds | |
Sequences by Descending and Ascending Steps | |
A Summary of Harmonic Sequences: Elaborating the I-V-I Progression | |
Pitch Patterns | |
Chromatic Harmony and Form | |
Secondary Dominants I | |
Chromatic Harmony | |
Tonicization: Secondary Dominants | |
Spelling Secondary Dominants | |
V7 of V | |
Voice-Leading Guidelines | |
V7 of IV (iv) | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Pitch Patterns | |
Secondary Dominants II | |
V7 of ii | |
V7 of vi (VI) | |
V7 of iii (III) | |
V7 of VII | |
Characteristic Soprano-Bass Patterns | |
Elaborating the I-V-I Progression | |
Deceptive Resolutions of Secondary Dominants | |
Sequences with Secondary Dominants | |
Secondary Key Areas | |
Pitch Patterns | |
Secondary Leading-Tone Chords | |
Secondary Leading-tone Seventh Chords | |
Secondary viio7 Chords in Inversion | |
The viio7 Over a Pedal Point | |
Elaborating the I-V-I Progression | |
A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21 | |
Secondary Functions in Context: Two Songs by Mozart | |
Pitch Patterns | |
Modulation to Closely-Related Keys | |
Key Relationships: Closely-Related Keys | |
Diatonic Pivot-Chord Modulation | |
Modulation to V | |
Modulation to the Relative Major and Minor Keys | |
Writing Pivot Chord Modulations | |
Chromatic Modulation: Chromatic Pivot Chords | |
Writing Chromatic Modulations | |
Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods | |
Harmonizing Modulating Melodies | |
Pitch Patterns | |
Small Forms: Binary and Ternary; Variation Forms | |
The Binary Principle | |
Binary Tonal Types | |
Binary Formal Designs | |
The Ternary Principle | |
Variation Forms | |
Continuous Variations | |
Sectional Variations | |
Contrapuntal Genres | |
The Two-Voice Invention | |
Bach: Invention no. 3, in DM | |
The Fugue | |
Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I | |
Some Additional Fugal Techniques | |
The Fugato | |
Modal Mixture | |
Borrowing Chords from the Minor Mode in a Major Key | |
Borrowing Chords from the Major Mode in a Minor Key | |
Change of mode | |
Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression | |
Pitch Patterns | |
The Neapolitan Chord | |
The Neapolitan Sixth | |
Tonicization of the Neapolitan | |
The Neapolitan in Root Position | |
Tritone Substitution: The Neapolitan as a Substitute for V7 | |
Pitch Patterns | |
Augmented Sixth Chords | |
General Features and Types of +6 Chords | |
The Italian +6 | |
The German +6 | |
The French +6 | |
Other Types of +6 Chords | |
Summary | |
Tonal Relationship Between the Neapolitan and the +6 Chords | |
Pitch Patterns | |
Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I | |
Chromatic Pivot Chords | |
Writing Chromatic Pivot Chord Modulations | |
Modulation by Enharmonic Reinterpretation of the Gr +6 | |
Writing Modulations with +6 Chords | |
Modulation by enharmonic reinterpretation of viio7 | |
Writing Modulation with viio7 Chords | |
Pitch Patterns | |
Modulation to Distantly-Related Keys II; Linear Chromaticism I | |
Chromatic Third Relationships | |
Triads Related by Chromatic Third | |
Keys related by Chromatic Third: Common Tone Modulation | |
Linear Chromaticism I: Linear Chromatic Chords | |
Altered triads | |
Augmented Sixth Chords with Dominant and Embellishing; Functions | |
The Common-Tone Diminished Seventh Chord | |
Pitch Patterns | |
Introduction to Large Forms | |
Sonata Form | |
Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25) | |
Guided Studies of Sonata Form | |
The Rondo | |
A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21) | |
Guided Studies of Rondo Forms | |
Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II | |
Expanding Chordal Sonorities: Extended Tertian Chords | |
Linear Chromaticism II: Linear Expansions of Tonality | |
Appoggiatura Chords | |
Chromatic Sequences Revisited | |
Nonsequential Linear Processes | |
Pitch Patterns | |
The German Romantic Lied: Chromatic Harmony in Context | |
The German Romantic Lied | |
Schubert, Erlkonig | |
Schumann, "Widmung" | |
Modulation by Enharmonic Reinterpretation of V+ | |
Wolf, "Das Verlassene Magdlein" | |
Pitch Patterns | |
Toward (and Beyond) the Limits of Functional Tonality | |
Tonal Ambiguity and Implied Tonality | |
Equal Divisions of the Octave | |
Parsimonious Voice Leading: The PLR Model | |
Beyond the Confines of Functional Tonality | |
Pitch Patterns | |
Appendix Transposing Instruments | |
Subject Index | |
Musical Example Index | |
Table of Contents provided by Publisher. All Rights Reserved. |
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