Each chapter ends with Terms and Concepts. Preface PART 1. FUNDAMENTALS Chapter 1. Fundamentals of Musical Notation: Rhythm and Pitch Introduction to Rhythm Introduction to Pitch More Notational Symbols Chapter 2. Musical Time Meter Rhythmic and Metric Divisions Accent and Metrical Disturbance Chapter 3. Scales and Keys Two Fundamental Scales Major Scales and Keys Scale Degrees Minor Scales and Keys Major and Minor Relations Chapter 4. Intervals Naming Intervals: Perfect, Major, and Minor Transforming Intervals: Augmented, Diminished, and Inverted Generating Intervals Transposition Consonant and Dissonant Intervals Chapter 5. Triads and Seventh Chords Introduction to Chords: Triads Figured Bass Harmonic Analysis Seventh Chords Arpeggiation and Distribution Summary of Part 1 PART 2.
DIATONIC HARMONY AND VOICE LEADING Chapter 6. Introduction to Melody and Two-Voice Counterpoint Melody: Characteristics and Writing Introduction to Two-Voice Counterpoint First-Species Counterpoint Second-Species Counterpoint Fourth-Species Counterpoint Chapter 7. Textural and Melodic Embellishment Musical Texture Embellishing Tones: Chord Tones and Nonchord Tones Melodic Embellishment and Reduction Chapter 8. Tonic and Dominant Chords: The Pillars of Tonal Music Characteristics and Effects of I and V Introduction to Voice Leading Chapter 9. Second Level Analysis and Contrapuntal Expansions of I and V: Six-Three Chords Second-Level Analysis Chordal Leaps in the Bass: I6 and V6 Neighbor Tones in the Bass: V6 Passing Tones in the Bass: viio6 IV]6 Expands I and V Revisiting Second-Level Analysis Chapter 10. V7 and its Inversions The Dominant Seventh and Chordal Dissonance Voice Leading for V7 V]7 in Inversion Chapter 11. Leading-Tone Seventh Chords Leading-Tone Seventh Chords in Minor Keys: viio7 Leading-Tone Seventh Chords in Major Keys: viio7 and vii]o7 Summary of Contrapuntal Expansions Summary of Part 2 PART 3. THE PHRASE MODEL Chapter 12.
The Pre-Dominant and the Phrase Model Harmonic Function and the Predominant Predominant Chords Expanding the Predominant The Phrase Model Chapter 13. More Embellishing Tones Unaccented versus Accented Embellishing Tones Accented and Chromatic Embellishing Tones Appoggiatura and Escape Tone Suspension Anticipation Pedal Summary of the Most Common Embellishing Tones Chapter 14. Six-Four Chords, Revisiting the Subdominant, and Summary of Contrapuntal Expansions Unaccented Six-Four Chords Accented Six-Four Chords in Cadences Revisiting the Subdominant Summary of Harmonic Models Chapter 15. Pre-Dominant Sevenths and Embedded Phrase Models Predominant Seventh Chords Embedding the Phrase Model Contrapuntal Cadences Expanding the Predominant with Sevenths Terms and Concepts Summary of Part 3 PART 4. NEW CHORDS AND FORMS Chapter 16. The Submediant and Mediant: New Diatonic Harmonies Submediant Chord (vi in Major; VI in Minor) Mediant Chord (iii in Major; III in Minor) The Step Descent in the Bass Chapter 17. Small Musical Structures: Periods and Sentences The Period Types of Periods: Melody and Harmony Labelling and Diagramming Periods Sample Analysis and Analytical Guidelines Periods with Two of the "Same" Cadence The Double Period The Sentence Chapter 18. Harmonic Sequences Analyzing Sequences Type of Sequences Adding Seventh Chords Writing Sequences Summary of Diatonic Sequences Summary of Part 4 PART 5.
CHROMATIC HARMONY (I): TONICIZATION AND MODULATION Chapter 19. Tonicization Applied Dominant Chords Applied Leading-Tone Chords Sequences with Applied Chords Chapter 20. Modulation Modulation versus Tonicization Modulation to Closely Related Keys Pivot Chords Modulation via Sequences Pivot Areas Modulation and Tonicization in the Larger Musical Context Chapter 21. Binary Form and Variations Binary Form Types of Binary: Themes and Harmony Labeling and Diagramming Binary Form Theme-and-Variation Form Summary of Part 5 PART 6. CHROMATIC HARMONY (II): MIXING MODES Chapter 22. Modal Mixture and Plagal Motion Altered Predominant Harmonies: iio and iv Alerted Submediant Harmony: bVI Altered Tonic Harmony: i Alerted Mediant Harmony: bIII Chromatic Stepwise Bass Descents Modal Mixture in Plagal Motions Chapter 23. The Augmented Sixth Chord Types of Augmented Sixth Chords Writing Augmented Sixth Chords Other Characteristics and Uses of Augmented Sixths Chapter 24. The Neapolitan Chord (]bII) and Chromatic Modulation Expanding bII Chromatic Modulations Unprepared and Chromatic Common-Tone Modulations Summary of Part 6 PART 7.
LARGE FORMS Chapter 25. Ternary Form Types of Ternary Form Transitions and Retransitions Ternary Form in Multimovement Works Ternary Form in the Nineteenth Century Chapter 26. Sonata Form Elements of Sonata Form Other Approaches to Sonata Form Chapter 27. Rondo Form The Classical Rondo Five-Part Rondo Seven-Part Rondo Sonata-Rondo Form PART 8. NINETEENTH-CENTURY HARMONY Chapter 28. Nineteenth Century Harmonic Techniques Common-Tone Expansions Altered Dominants Tonal Ambiguity Chapter 29. New Chromatic Procedures: Tonality''s Edge Harmonic Transformations Chromatic Sequences Terms and Concepts Summary of Part 8 PART 9. TWENTIETH-CENTURY HARMONY Chapter 30.
Beyond the Common Practice: Twentienth-Century Chords and Scales Triadic Extensions and Quartal/Quintal Chords Diatonic Scales Beyond Major and Minor Chromatic Collections Chapter 31. Atonality and Set Theory Naming Notes in Atonal Music: PC Numbers Intervals between pc Numbers pc Sets Set Classes: (Best) Normal Order and Prime Form Segmentation and Analysis Chapter 32. Twelve-Tone Music Twelve-Tone Music: Rows and Row Forms Writing and Using Twelve-Tone Rows Analyzing Twelve-Tone Rows Summary of Part 9 Glossary.