PrefacePART 1: THE FOUNDATION OF TONAL MUSICIntroduction1. Tonality, the Musical CenterSetting the Scene: Bach's Violin Partita No. 3, PreludePitch and Pitch ClassCharting Musical Sound: Staff and ClefThe Division of Musical Space: ScalesMembers of the ScaleScales and the KeyboardScale Types and StepsBuilding Scales in the Major ModeKey Signatures and the Circle of FifthsBuilding Scales in the Minor Mode2. Pulse, Rhythm, and MeterRhythm and Durational SymbolsMeterMusical AccentThe Meter SignatureClarifying Meter3. Intervals and MelodyInterval SizeConsonant and Dissonant IntervalsSpecific Interval SizesInterval InversionDiatonic and Chromatic Half StepsMelodic Writing and Listening4. Controlling Dissonance and Consonance: Two-Voice CounterpartFirst-Species CounterpointSecond-Species Counterpoint5. Triads, Inversions, Figured Bass, and Harmonic AnalysisTriadsTriads and Voicing, Spacing, DoublingChord InversionFigured BassTriads and the Scale: Harmonic AnalysisRoman NumeralsIntroduction to Harmonic Analysis6. Seventh Chords, Texture, and Musical HierarchyInverted Seventh ChordsAnalytical TipsMusical TextureSeventh Chords and Harmonic AnalysisHierarchy in Music: Consonance and Unaccented DissonanceSample Analyses7.
The Tonic and the Dominant, Voice Leading, and Harmonic RhythmThe Interaction of Harmony, Melody, Meter, and RhythmEmbellishment and ReductionThe CadenceIntroduction to Voice Leading and Part WritingTexture and RangeComparison of ExamplesDoubling and SpacingPart Writing and Voice Leading Rules and Guidelines8. The Dominant Seventh and Chordal DissonanceWriting the Dominant Seventh ChordAn Analytical InterludeSummary of Part 1PART 2: TONIC AND DOMINANT EXPANDEDIntroduction9. Contrapuntal Expansions of Tonic and Dominant: Six-Three ChordsChordal Skips: The BassNeighboring and Passing Tones in the Bass and Second-Level AnalysisVoice Leading with Six-Three ChordsPlaying and Writing Six-Three ChordsA New Expanding Harmony: vii06Voice Leading and Figured Bass of vii06Tonic Expansions Using IV6Dominant Expansions Using IV610. More Contrapuntal Expansions and Their Impact on Composition: Inversions of V7, vii07, and Introduction of the MotiveV7 and Its InversionsVoice Leading for Inversions of V7A Tortured Contrapuntal Chord: The Diminished Seventh Chord (vii07)Uses of vii07Voice Leading vii07MotivesHarmonic Cells11. Accented Dissonances, Six-Four Chords, and Revisiting IVThe Accented Passing Tone (APT)Accented Neighbor Tones (AN)The SuspensionCharacteristics and Stages of the SuspensionThe Anticipation (ANT)The Pedal (PED)The Appoggiatura (APP)Summary of the Most Common Tones of FigurationSix-Four ChordsUnaccented Six-Four Chords I: NeighboringUnaccented Six-Four Chords II: PassingUnaccented Six-Four Chords III: ArpeggiatingAccented Six-Four ChordsWriting Six-Four ChordsRevisiting the Subdominant12. Invertible Counterpoint and Compound MelodyHarmonic Implications of Single Melodic Lines: Compound MelodySummary of Part 2PART 3: NEW CHORDS THAT COMPLETE THE DIATONIC SPECTRUMIntroduction13. The Pre-dominant Function and the Phrase ModelThe Subdominant (IV)The Supertonic (ii)Introduction to Part Writing for Pre-DominantsExtending the Pre-Dominant: The IV-ii ComplexExtending the Phrase: Postponing the CadenceIntroduction to the Phrase Model14. The Phrase Model Continued: Perceiving, Animating, and Expanding It Using New Pre-Dominant PossibilitiesMemory and Longer Musical SpansPre-Dominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5)The Pre-Dominant-Dominant within Tonic ExpansionsContrapuntal CadencesExpansion of the Pre-Dominant FunctionSubphrasesComposite Phrases15.
The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase ModelThe SubmediantThe Submediant as Bridge in Descending Third ProgressionsThe Submediant Extends the Circle of Fifths in Descending Fifth ProgressionsThe Submediant as Tonic Substitute in Ascending Second ProgressionsContextual Analysis: Tonic and Dominant Embellish the SubmediantThe Submed.