INTRODUCTION: Why Study Music Theory? PART I: ELEMENTS OF MUSIC Ch. 1 - Pitch and Pitch Class Ch. 2 - Simple Meters Ch. 3 - Pitch Collections, Scales, and Major Keys Ch. 4 - Compound Meters Ch. 5 - Minor Keys and the Diatonic Modes Ch. 6 - Intervals Ch. 7 - Triads Ch.

8 - Seventh Chords Ch. 9 - Connecting Intervals in Note-to-Note Counterpoint Ch. 10 - Melodic and Rhythmic Embellishment in Two-VoiceCounterpoint PART II: DIATONIC HARMONY AND TONICIZATION Ch. 11 - Soprano and Bass Lines in Eighteenth-Century Style Ch. 12 - The Basic Phrase in SATB Style Ch. 13 - Dominant Sevenths, the Predominant Area, and ChoraleHarmonization Ch. 14 - Expanding the Tonic and Dominant Areas Ch. 15 - Diatonic Harmonies and Root Progressions Ch.

16 - Embellishing Tones in Four Voices Ch. 17 - The vii??, vii??,vii??, and Other Voice-Leading Chords Ch. 18 - Phrase Structure and Motivic Analysis Ch. 19 - Diatonic Sequences Ch. 20 - Secondary Dominants and Leading-Tone Chords to V Ch. 21 - Tonicizing Scale Degrees Other Than V PART III: CHROMATIC HARMONY AND FORM Ch. 22 - Modulation to Closely Related Keys Ch. 23 - Binary and Ternary Forms Ch.

24 - Invention, Fugue, and Other Contrapuntal Genres Ch. 25 - Modal Mixture Ch. 26 - The Neapolitan Sixth and Augmented-Sixth Chords Ch. 27 - Vocal Forms Ch. 28 - Popular Music Ch. 29 - Chromatic Harmony and Voice-Leading Ch. 30 - Chromatic Modulation Ch. 31 - Variation and Rondo Ch.

32 - Sonata and Related Forms PART IV: THE TWENTIETH CENTURY AND BEYOND Ch. 33 - Modes, Scales, and Sets Ch. 34 - Music Analysis with Sets Ch. 35 - Sets and Set Classes Ch. 36 - Ordered Segments and Serialism Ch. 37 - Twelve-Tone Rows and the Row Matrix Ch. 38 - Rhythm, Meter, and Duration Ch. 39 - Musical Form Ch.

40 - The Composer's Materials Today Appendix 1 - Try it answers Appendix 2 - Glossary Appendix 3 - Summary of Part-Writing Key Concepts Appendix 4 - Selected Instrumental Ranges Appendix 5 - Set Class Table.