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 The Cadential Six-Four The Passing Six-Four The Pedal Six-Four 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 Summary Chapter 12: Non-Chord Tones 1 Introduction Classification of Non-Chord Tones Passing Tones Contrapuntal Considerations Embellished Cadences Embellishing versus Composing Neighboring Tones Suspensions and Retardations Embellishing a Simple Texture Figured Bass and Lead Sheet Symbols Summary Chapter 13: Nonchord Tones 2 Appoggiaturas Escape Tones The Neighbor Group Anticipations The Pedal Point Special Problems in the Analysis of Non-Chord Tones Summary Part III: Diatonic Seventh Chords Chapter 14: The V7 Chord 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 The IV7 Chord The VI7 Chord The I7 Chord The III7 Chord Seventh Chords and the Circle-of -Fifths 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 Resolutions to Other Scale Degrees 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 Chord Structure Other Concepts Rhythm and Meter Summary 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.