Part I: Fundamentals

Chapter 1: Elements of Pitch

The Keyboard and Octave Registers

Notation of the Staff

The Major Scale

The Major Key Signatures

Minor Scale

Minor Key Signatures

Scale Degree Names

Intervals

Perfect, Major, and Minor Intervals

Augmented and Diminished Intervals

Inversion of Intervals

Consonant and Dissonant Intervals

Summary

Variations

Chapter 2: Elements of Rhythm

Rhythm

Durational Symbols

Beat and Tempo

Meter

Division of the Beat

Simple Time Signatures

Compound Time Signatures

Time Signatures Summarized

More on Durational Symbols

Summary

Variations

Chapter 3: Introduction to Triads and Seventh Chords

Introduction

Triads

Seventh Chords

Inversions of Chords

Inversion Symbols and Figured Bass

Lead Sheet Symbols

Recognizing Chords in Various Textures

Summary

Chapter 4: Diatonic Chords in Major and Minor Keys

Introduction

Diatonic Triads in Major

The Minor Scale

Diatonic Triads in Minor

Diatonic Seventh Chords in Major

Diatonic Seventh Chords in Minor

Summary

Part II: Diatonic Triads

Chapter 5: Principles of Voice Leading

Introduction

The Melodic Line

Notating Chords

Voicing a Singe Triad

Parallel Motion

Summary

Chapter 6: Root Position Part Writing

Introduction

Root Position Part Writing with Repeated Roots

Root Position Part Writing with Roots a 4th (5th) Apart

Root Position Part Writing with Roots a 3rd (6th) Apart

Root Position Part Writing with Roots a 2nd (7th) Apart

Instrumental Ranges and Transpositions

Summary

Chapter 7: Harmonic Progression

Introduction

Sequences and the Circle of Fifths

The I and V Chords

The II Chord

The VI Chord

The III Chord

The VII Chord

The IV Chord

Common Exceptions

Differences in the Minor Mode

Progressions Involving Seventh Chords

More About Harmonic Sequences

Harmonizing a Simple Melody

Conclusion

Summary

Chapter 8: Triads in First Inversion

Introduction

Bass Arpeggiation

Substituted First Inversion Triads

Inversions in Lead Sheets

Parallel Sixth Chords

Part Writing First Inversion Triads

Soprano-Bass Counterpoint

Summary

Chapter 9: Triads in Second Inversion

Introduction

Bass Arpeggiation and the Melodic Bass

Part Writing for Second Inversion Triads

Summary

Chapter 10: Cadences, Phrases, Periods, and Sentences

Musical Form

Cadences

Cadences and Harmonic Rhythm

Motives and Phrases

Mozart: “An die Freude”

Period Forms

The Sentence

Summary

Chapter 11: Two-Part Tonal Counterpoint

Introduction

Composing an Unembellished Bass Line

Composing a Counterpoint to the Bass Line

Composing the Contrapuntal Voice

Writing Your Own Harmonic Progressions

Chapter 12: Non-Chord Tones 1

Chapter 13: Nonchord Tones 2

Introduction

General Voice-Leading Considerations

The Approach to the 7th

The V7 in Root Position

The V7 in Three Parts

Other Resolutions of the V7

The Inverted V7 Chord

The V6/5 Chord

The V4/3 Chord

The V4/2 Chord

Summary

Chapter 15: Other Diatonic Seventh Chords

Introduction

The II7 Chord

The VII7 Chord in Major

The VII7 Chord in Minor

Summary

Part IV: Chromaticism

Chapter 16: Secondary Functions 1

Chromaticism and Altered Chords

Secondary Functions and Tonicization

Secondary Dominant Chords

Spelling Secondary Dominants

Recognizing Secondary Dominants

Secondary Dominants in Context

Summary

Chapter 17: Secondary Functions 2

Secondary Leading-Tone Chords

Spelling Secondary Leading-Tone Chords

Recognizing Secondary Leading-Tone Chords

Secondary Leading-Tone Chords in Context

Sequences Involving Secondary Functions

Deceptive Resolutions of Secondary Functions

Other Secondary Functions

Summary

Chapter 18: Modulations Using Diatonic Common Chords

Modulation and Change of Key

Modulation and Tonicization

Key Relationships

Common-Chord Modulation

Analyzing Common-Chord Modulation

Summary

Chapter 19: Some Other Modulatory Techniques

Altered Chords as Common Chords

Sequential Modulation

Modulation by Common Tone

Monophonic Modulation

Direct Modulation

Summary

Chapter 20: Binary and Ternary Forms

Formal Terminology

Binary Forms

Ternary Forms

Rounded Binary Forms

12-Bar Blues

Other Forms with a Ternary Design

Sonata Form

Rondo Form

Summary

Part V: Chromaticism 2

Chapter 21: Mode Mixture and the Neapolitan

Introduction

Borrowed Chords in Minor

Borrowed Chords in Major: The Use of B-Flat 6

Other Borrowed Chords in Major

Modulations Involving Mode Mixture and the Neapolitan

Summary

Chapter 22: Augmented Sixth Chords

The Interval of the Augmented Sixth

The Italian Augmented Sixth Chord

The French Augmented Sixth Chord

The German Augmented Sixth Chord

Other Uses of the Conventional Augmented Sixth Chords

Other Bass Positions

Summary

Variations

Chapter 23: Enharmonic Spellings and Enharmonic Modulations

Enharmonic Spellings

Enharmonic Reinterpretation

Enharmonic Modulations Using the Major-Minor Seventh Sonority

Enharmonic Modulations Using the Diminished Seventh Chord

Other Examples of Enharmonicism

Summary

Chapter 24: Further Elements of the Harmonic Vocabulary

Introduction

The Dominant with a Substituted 6th

The Dominant with a Raised 5th

Ninth, Eleventh, and Thirteenth Chords

The Common-Tone Diminished Seventh Chord

Simultaneities

Coloristic Chord Progressions

Summary

Chapter 25: Tonal Harmony in the Late Nineteenth Century

Introduction

More About Mediants

Mediant Chains and Other Combinations

Counterpoint and Voice Leading

Sequences and Other Systematic Procedures

Summary

Part VI: An Introduction to Twentieth-Century Music

Chapter 26: Materials and Techniques

Introduction

Impressionism

Scale Materials

Chapter 27: Post-Tonal Theory

Introduction

Basic Atonal Theory

Twelve-Tone Serialism

Integral Serialism

Summary

Chapter Twenty-Eight: New Directions

Introduction

Explorations of Texture, Timbre, and Tuning

Indeterminacy

Minimalism

Electronic and Computer Music

Summary and Forward Look

Appendix A Instrumental Ranges and Transpositions

Appendix B Lead-Sheet Symbols

Appendix C Set Class List

Appendix D Answers to Self-Tests

Index of Music Examples

Subject Index