PrefaceTerms and Concepts are included at the end of every chapter.PART 1: THE FOUNDATION OF TONAL MUSIC1: The Pitch Realm: Tonality, Notation, and ScalesCharting Musical Sound: Staff and ClefPitch and Pitch ClassThe Division of Musical Space: IntervalsAccidentalsScalesEnharmonicismScale Degree Numbers and NamesSpecific Scale Types: Major and MinorBuilding Scales in the Major ModeKey Signatures and the Circle of FifthsBuilding Scales in the Minor ModeKey Signatures in MinorRelative Major and Minor KeysModel Analysis: Tonality and Hierarchy in Bach''s Violin Partita No. 3, Prelude2: Pulse, Rhythm, and MeterRhythm and Durational SymbolsMeterAccent in MusicTemporal AccentsNontemporal AccentsBeat Division and Simple and Compound MetersThe Meter SignatureAsymmetrical MetersClarifying MeterMore Rhythmic ProceduresMetrical Disturbance3: Intervals and MelodyNaming IntervalsTips for Identifying Generic IntervalsSpecific Interval SizeTransforming Intervals: Augmented and Diminished IntervalsInterval InversionGenerating All IntervalsEnharmonic IntervalsConsonant and Dissonant IntervalsMelody: Characteristics, Writing, and ListeningModel Analysis: Mozart, Piano Sonata in A minor, K. 310Melodic Dictation4: Controlling Consonance and Dissonance: Introduction to Two-Voice CounterpointFirst-Species CounterpointContrapuntal MotionsBeginning and Ending the CounterpointRules and Guidelines for First-Species (1:1) CounterpointSecond Species CounterpointWeak-Beat ConsonanceWeak-Beat DissonanceBeginning and Ending Second-Species CounterpointRules and Guidelines for Second-Species CounterpointHearing Two-Voice CounterpointReview5: Triads, Inversions, Figured Bass, and Harmonic AnalysisTriadsVoicing Triads: Spacing and DoublingTriad InversionFigured BassAnalyzing and Composing Using Figured BassAdditional Figured-Bass Conventions: Abbreviations and ChromaticismTriads and the Scale: Harmonic AnalysisRoman NumeralsIntroduction to Harmonic AnalysisHarmony and the Keyboard6: Seventh Chords, Musical Texture, and Harmonic AnalysisMusical Characteristics of Seventh ChordsInverted Seventh ChordsAnalytical TipsSeventh Chords and Harmonic AnalysisLead-Sheet NotationMusical TextureModel Analyses: Beethoven Violin Sonata No. 3 in Eb major, Op. 12, No. 3, and Mozart, "Madamina" from Don Giovanni, Act 1, Scene 4Summary of Part 1PART 2: MERGING MELODY AND HARMONY7: Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic FluencyConsonance and DissonanceThe Importance of Textual AnalysisModel Analyses: Clementine and God Save the KingMelodic Fluency8: Tonic and Dominant as Tonal Pillars and Introduction to Voice LeadingThe CadenceIntroduction to Voice LeadingTexture and RegisterThree Techniques to Create Voice Independence Within a Four-Voice TextureCreating the Best Sound: Incomplete and Complete Chords, Doubling, and SpacingSummary of Voice-Leading Rules and Guidelines9: The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and ReductionEmbellishment and ReductionThe Dominant Seventh and Chordal DissonancePart Writing with the Dominant Seventh ChordModel Analysis: Beethoven, Piano Sonata in D minor, Op. 31, No.

2 "Tempest"Harmonizing Florid MelodiesSummary10: Contrapuntal Expansions of Tonic and Dominant: Six-Three ChordsContrapuntal Expansions of Tonic and Dominant: Six-Three ChordsChordal Leaps in the Bass: I6 and V6Neighbor Tones in the Bass (V6)Second-Level AnalysisWriting and Playing First-Inversion TriadsPassing Tones in the Bass: viio6Tonic Expansion with an Arpeggiating Bass: IV6Dominant Expansion with Passing Tones: IV6Combining First-Inversion ChordsSummary11: More Contrapuntal Expansions: Inversions of V7, and Introduction to Leading Tone Seventh ChordsV7 and Its InversionsVoice Leading Inversions of V7Combining Inversions of V7Compositional Impact on Contrapuntal ChordsLeading Tone Seventh Chords: viio7 and viio7Elaboration and ReductionSummary of Part 2PART 3: A NEW HARMONIC FUNCTION AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS12: The Pre-Dominant Function and the Phrase ModelThe Subdominant (IV in Major, iv in Minor)The Supertonic (ii in Major, iio in Minor)Pre-Dominants and the Stepwise Ascending BassPart-Writing for Pre-DominantsExtending the Pre-DominantIntroduction to the Phrase ModelT-PD-D-T within the Tonic Prolongation13: Accented and Chromatic DissonancesThe Accented Passing Tone (APT)The Chromatic Passing Tone (CPT)The Accented Neighbor Tone (AN)The Chromatic Neighbor Tone (CN)The Appoggiatura (APP)The SuspensionLabeling SuspensionsWriting SuspensionsAdditional Suspension TechniquesThe Anticipation (ANT)The Pedal (PED)Summary of the Most Common Tones of Figuration14: Six-Four ChordsUnaccented Six-Four Chords I: PedalUnaccented Six-Four Chords II: PassingUnaccented Six-Four Chords: ArpeggiatingAccented Six-Four ChordsAdditional Uses on Cadential Six-Four ChordsWriting Six-Four ChordsRevisiting the SubdominantSummary of Harmonic ParadigmsHarmonizing Florid MelodiesTerms and Concepts15: Invertible Counterpoint, Compound Melody, and Implied HarmoniesModel Analysis: Invertible Counterpoint Below the Music''s SurfaceHarmonic Implications of Single Melodic Lines: Compound MelodyImplied Harmonies16: The MotiveIntroductionMotive TypesMotivic RepetitionStrict RepetitionModified RepetitionAdditional Pitch TransformationsRhythmic TransformationsDevelopmental RepetitionsIntersection and Intermovement Motivic RepetitionsSingle-Interval MotiveHidden Motivic RepetitionsDepth and Surface: Motivic ParallelismSummary of Part 3PART 4: NEW CHORDS COMPLETE THE DIATONIC SPECTRUM17: The Phrase Model Refined: Perceptions, Animation, and ExpansionHearing Phrases as Single EntitiesListening GuidelinesPre-Dominant Seventh Chords: IV7 (IV 65) and ii7 (ii65)Part-Writing Nondominant Seventh ChordsAnalyzing Nondominant Seventh ChordsThe Pre-Dominant in Embedded Phrase ModelsContrapuntal CadencesExpansion of the Pre-DominantSubphrasesComposite Phrases18: The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase ModelThe SubmediantThe Submediant as Bridge in the Descending-Thirds ProgressionThe Submediant in the Descending-Circle-of-Fifths ProgressionThe Submediant as Tonic Substitute in Ascending-Seconds ProgressionsThe Submediant as the Pre-DominantVoice Leading for the SubmediantContextual AnalysisThe Step Descent in the Bass19: The Mediant, The Back-Relating Dominant, and a Synthesis of Diatonic Harmonic RelationshipsThe Mediant in ArpeggiationsA Special Case: Preparing the III Chord in MinorThe Mediant in Descending-Fifths- ProgressionsVoice Leading for the MediantMore Contextual AnalysisGeneral Guidelines for Harmonic ProgressionsSummary of Part 4PART 5: CREATING LARGER FORMS20: The PeriodAspects of Melody and Harmony in PeriodsRepresenting Form: The Formal DiagramModel Analyses: Mozart, from The Magic Flute, Act 1 Finale and Beethoven, Moderato, from Klavierstuecke, WoO82A Summary for Analyzing PeriodsComposing Periods21: Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical PeriodsThe Sentence: An Alternative Musical StructureThe Double PeriodAsymmetrical Periods22: Harmonic Sequences: Concepts and PatternsComponents and Types of SequencesThe Descending-Second (D2) SequenceThe Descending-Second Sequence in InversionThe Descending-Third (D3) SequenceThe Descending-Third Sequence in InversionThe Ascending-Second (A2) SequenceAnother Ascending-Second Sequence: A2 (-3/+4)Writing Sequences23: Sequences within Larger Musical Contexts and Sequences with Seventh ChordsComposing Sequences Within the Phrase ModelSequences with Diatonic Seventh ChordsComposing Sequences with Seventh ChordsSequences with Inversions of Seventh ChordsCompound Melody and Implied Seventh Chord SequencesParallel First-Inversion TriadsSequences versus Sequential ProgressionsSummary of Part 5PART 6: FUNCTIONAL CHROMATICISM AND FORMAL EXTENSIONS24: Applied ChordsApplied Dominant ChordsApplied Chords in InversionHearing Applied ChordsVoice Leading for Applied ChordsApplied Leading-Tone ChordsIncorporating Applied Chords Within PhrasesAn Example CompositionSequences with Applied ChordsThe D2 (-5/+4) SequenceChromatic Alteration to the D3 (-4/+2) SequenceThe A2 (-3/+4) Applied-Chord SequenceWriting Applied-Chord SequencesSummary of Diatonic and Applied-Chord Sequences25: Tonicization and ModulationExtended TonicizationsModulationClosely Related KeysHearing ModulationsAnalyzing ModulationsWriting ModulationsModulation in the Larger Musical ContextThe Sequence as a Tool in Modulation26: Binary Form and VariationsSummary of Binary Form TypesVariation FormContinuous VariationsSectional VariationsModel Analysis: Beethoven, Six Variations "on nel cor piu non mi sento" by Paisiello WoO 70Summary of Part 6PART 7: EXPRESSIVE CHROMATICISM27: Modal MixtureAltered Pre-Dominant Harmonies: iio and ivApplication: Musical Effects of Melodic MixtureAltered Submediant Harmony: bVIAltered Tonic Harmony: iAltered Mediant Harmony: bIIIVoice Leading for Mixture HarmoniesChromatic Stepwise Bass DescentsPlagal MotionsModal Mixture, Applied Chords, and Other Chromatic HarmoniesSummary28: Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German LiedChromatic Pivot-Chord ModulationsAn Analytical Interlude: Franz Schubert''s Waltz in F MajorWriting Chromatic ModulationsUnprepared Chromatic ModulationsChromatic Common-Tone ModulationsAnalytical ChallengesModal Mixture and the German LiedModel Analysis: Schumann, "Waldesgesprach" from Liederkreis, Op. 3929: The Neopolitan Chord (bII)Expanding bIIThe Neapolitan in SequencesThe Neapolitan as Pivot Chord30: The Augmented Sixth ChordGeneral FeaturesTypes of Augmented Sixth ChordsWriting Augmented Sixth Chords: Approach and ResolutionHearing Augmented Sixth Chords bVI and the Augmented Sixth ChordAugmented Sixth Chords as Part of PD ExpansionsThe Augmented Sixth Chord and Modulation: ReinforcementThe Augmented S.