Part 1: THE FOUNDATION OF TONAL MUSIC1. Musical Space and TimeTonality in Context: Bach''s Violin Partita no. 3, PreludeSpecifics of the Pitch RealmPitches and Pitch ClassesScalesKeysIntervalsEnharmonic IntervalsConsonant and Dissonant IntervalsThe Metrical RealmMeter SignatureAsymmetrical MetersClarifying MeterMore Rhythmic ProceduresAccent in MusicTemporal AccentsNontemporal AccentsMetrical DisturbanceSyncopationHemiola2. Harnessing Space and Time: Introduction to Melody and Two-Voice CounterpointMelody: Characteristics and WritingControlling Consonance and Dissonance: Introduction to Two-Voice CounterpointFirst-Species CounterpointContrapuntal MotionsBeginning and Ending First-Species CounterpointRules and Guidelines for First-Species (1:1) CounterpointSecond-Species CounterpointWeak-Beat ConsonanceWeak-Beat DissonanceMore on Perfect ConsonancesBeginning and Ending Second-Species CounterpointRules and Guidelines for Second-Species Counterpoint3. Musical Density: Triads, Seventh Chords, and TextureAdding Voices: Triads and Seventh ChordsTriadsFigured BassTriads and the Scale: Harmonic AnalysisHarmony and the KeyboardSeventh ChordsMusical TextureAnalytical MethodPart 2: MERGING MELODY AND HARMONY4. When Harmony, Melody, and Rhythm ConvergeTonal Hierarchy in MusicEmbellishing TonesThe Importance of Context in AnalysisAnalytical InterludeMelodic FluencyMelody as Harmony5. Tonic and Dominant as Tonal Pillars and Introduction to Voice LeadingCharacteristics and Effect of V and IThe CadenceIntroduction to Voice LeadingTexture and RegisterThree Techniques to Create Voice Independence within a Four-Voice TextureTechnique 1: SmoothnessTechnique 2: Registral IndependenceTechnique 3: Contrapuntal IndependenceCreating the Best Sound: Incomplete and Complete Chords, Doubling, and SpacingOmitted Chord TonesDoubled Chord TonesSpacing and VoicingSummary of Voice-Leading Rules and Guidelines6. The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V7The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and ReductionEmbellishmentReductionThe Dominant Seventh and Chordal DissonanceDerivation and New Melodic PossibilitiesPart Writing with the Dominant Seventh ChordsAn Analytical InterludeHarmonizing Florid MelodiesSummary7.

Contrapuntal Expansions of Tonic and Dominant: Six-Three ChordsChordal Leaps in the Bass: I6 and V6Neighbor Tones in the Bass (V6)Second Level AnalysisPassing Tones in the Bass: viio6Tonic Expansion with an Arpeggiating Bass: IV6Dominant Expansion with Passing Tones: IV6Combining First-Inversion ChordsSummary8. More Contrapuntal Expansions: Inversions of V7, Introduction to leading Tone Seventh Chords, and Reduction and ElaborationV7 and Its InversionsV6/5V4/3V4/2Voice-Leading Inversions of V7Combining Inversions of V7Compositional Impact of Contrapuntal ChordsLeading Tone Seventh Chords: viio7 and viio7Voice Leading for viio7viio7Summary of Contrapuntal ExpansionsReduction and Elaboration: Compositional and Performance ImplicationsReductionElaborationSummary of Part 2Part 3: A NEW HARMONIC FUNCTION, THE PHRASE MODEL, AND ADDITIONAL MELODIC AND HARMONIC EMBELLISHMENTS9. The Pre-Dominant Function and the Phrase ModelThe Pre-Dominant FunctionThe 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 ModelAnalytical Interlude10. Accented and Chromatic Embellishing TonesThe Accented Passing Tone (APT)The Chromatic Passing Tone (CPT)The Accented Neighbor Tone (AN)The Chromatic Neighbor Tone (CN)The Appoggiatura (APP)The Suspension (S)Labeling SuspensionsWriting SuspensionsAdditional Suspension TechniquesThe Anticipation (ANT)The Pedal (PED)Summary of the Most Common Embellishing Tones11. Six-Four Chords, Revisiting the Subdominant, and Summary of Contrpuntal ExpansionsUnaccented Six-Four ChordsPedalPassingArpeggiatingAccented Six-Four ChordsCadentialAdditional Uses of Cadential Six-Four Chord-- As Part of Half Cadences and Authentic Cadences-- Preceding V7-- Within a Phrase-- Evaded Cadences: Elision and Extension-- Triple Meter-- Writing Six-Four ChordsRevisiting the SubdominantSummary of Harmonic ParadigmsHarmonizing Florid Melodies12. The Pre-Dominant Refines the Phrase ModelNondominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5)Analyzing Nondominant Seventh ChordsEmbedding the Phrase ModelContrapuntal CadencesExpanding the Pre-DominantPassing Chord between ii and ii6 (or between ii6 and ii)Passing Chord between IV and IV6 (or between IV6 and IV)Passing Chord Moving from IV6 (IV6/5) to ii6/5Restate Tonic Material Up a StepSubphrasesComposite PhrasesSummary of Part 3Part 4: NEW CHORDS AND NEW FORMS13. 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 ProgressionsThe Submediant as Tonic Substitute in Ascending-Seconds ProgressionsVoice Leading for the SubmediantThe Descending-Thirds Progression, I-vi-IVThe Descending-Fifths Progression, I-vi-ii (or I-vi-ii6)The Ascending-Seconds Progression, V-viContextual AnalysisTonic and Dominant Embellish the SubmediantApparent SubmediantsThe Step Descent in the Bass14. The Mediant, The Back-Relating Dominant, and a Synthesis of Diatonic Harmonic RelationshipsThe Mediant (iii in Major; III in Minor)The Mediant in ArpeggiationsA Special Case: Preparing the III Chord in MinorVoice Leading for the MediantMore Contextual Analysis: The Back-Relating Dominant and Synthesis: Root Motion PrinciplesThe Back-Relating DominantSynthesis: Root Motion PrinciplesCompositional Application15.

The PeriodAspects of Melody and Harmony in PeriodsRepresenting Form: The Formal DiagramSample Analysis of Periods and Some Analytical GuidelinesSummary for Analyzing PeriodsComposing Periods16. Other Small Musical Structures: Sentences, Double Periods, and Modified PeriodsThe Sentence: An Alternative Musical StructureThe Double PeriodModified PeriodsExtensionsPhrase GroupAsymmetrical Periods17. Harmonic SequencesComponents 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)Sequences with Diatonic Seventh ChordsSequences with Inversions of Seventh ChordsWriting SequencesSummary of Diatonic SequencesSummary of Part 4Part 5: FUNCTIONAL CHROMATICISM18. Applied ChordsApplied Dominant ChordsApplied Chords in InversionTonicized Half CadencesRecognizing Applied ChordsVoice Leading for Applied ChordsApplied Leading-Tone ChordsIncorporating Applied Chords within PhrasesAn Example CompositionSequences with Applied ChordsThe D2 (-5/+4) SequenceThe D3 (-4/+2) SequenceThe A2 (-3/+4) Applied-Chord SequenceWriting Applied-Chord SequencesSummary of Diatonic and Applied-Chord Sequences19. Tonicization and ModulationExtended TonicizationModulationClosely Related KeysAnalyzing ModulationsWriting ModulationsModulation in the Larger ContextThe Sequence as a Tool in Modulation20. Binary Form and VariationsBinary FormSimple Sectional BinarySimple Continuous BinaryRounded Sectional BinaryRounded Continuous BinaryBalanced Binary FormSummary of Binary Form TypesVariation FormContinuous VariationsSectional VariationsSummary of Part 5Answers to Exercise 20.1Part 6: EXPRESSIVE CHROMATICISM21. 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 HarmoniesSummary22.

Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German LiedChromatic Pivot-Chord ModulationsAn Analytical Interlude: Schubert''s Waltz in F majorWriting Chromatic ModulationsUnprepared and Common-Tone ModulationsAnalytical ChallengesModal Mixture and the German LiedAn Analytical Interlude: Schumann''s "Waldesgesprach"Analytical Payoff: The Dramatic Role of bVI23. The Neapolitan Chord (bII): Characteristics, Effects, and BehaviorWriting the Neapolitan ChordExpanding bIIThe Neapolitan in SequencesThe Neapolitan as a Pivot Chord24. The Augmented Sixth Chord: Characteristics, Derivation, and BehaviorTypes of Augmented Sixth ChordsWriting Augmented Sixth ChordsbVI and the Ger6/5 ChordAugmented Sixth Chords as Part of PD ExpansionsThe Augmented Sixth Chord and Modulation: ReinforcementThe Augmented Sixth Chord as Pivot in ModulationSummary of Part 6Part 7: LARGE FORMS: TERNARY, RONDO, SONATA25. Ternary FormCharacteristicsTransitions and RetransitionsDa Capo Form: Compound Ternary FormDa Capo AriaMinuet-Trio FormTernary Form in the Nineteenth Century26. RondoContextThe Classical RondoFive-Part RondoCoda, Transitions, and RetransitionsCompound Rondo FormSeven-Part RondoDistinguishing Seven-Part Rondo Form from Ternary FormMissing Double Bars and Repeats27. Sonata FormHistorical Context and Tonal BackgroundThe Binary Model for Sonata FormAnalytical Prelude: Beethoven, Piano Sonata in G minor, op. 49, no. 1TransitionClosing SectionDevelopment and RetransitionRecapitulation and CodaAdditional Characteristics and Elements of Sonata FormMonothematic Sonata FormThe Slow IntroductionHarmonic AnomaliesOther Tonal StrategiesThree-Key ExpositionExtended Third-Related STAsSonata RondoAnalytical Synthesis: Sonatas of Haydn and MozartHaydn: Piano Sonata no.

48 in C major, Hob. XVI.35, Allegro con brioExpositionDevelopmentRecapitulationMozart, Piano Sonata in Bb Major, K. 333, AllegroExpositionDevelopmentSummary of Part 7Part 8: INTRODUCTION TO NINETEENTH-CENTURY HARMONY: THE SHIFT FROM ASYMMETRY TO SYMMETRY28. New Harmonic TendenciesTonal Ambiguity: The Plagal Relation and Reciproc.