Preface About the Authors Chapter 1: Visualizing Pitch 1.1 The Musical Alphabet 1.2 Visualizing Pitch on the Guitar and Keyboard 1.3 Visualizing Pitch in Digital Audio Workstations (DAWs) 1.4 Integer Notation 1.5 Staff Notation Chapter 2: Simple Metric Grids 2.1 Feeling the Beat 2.2 Eighth-Note Grids 2.
3 Sixteenth-Note Grids 2.4 Triple Meter 2.5 Time Feels Chapter 3: Chords and Scales in Major Keys 3.1 Major and Pentatonic Scales 3.2 Intervals of the Major Scale 3.3 Key Signatures and the Circle of Fifths 3.4 Triads in Major Keys 3.5 Inverted Triads Chapter 4: Compound Metric Grids 4.
1 Compound Meter Signatures 4.2 Hemiola 4.3 Triplets 4.4 Swing and Shuffle Feels 4.5 Compound Time Feels Chapter 5: Chords and Scales in Minor Keys 5.1 Three Forms of the Minor Scale 5.2 Diatonic Modes 5.3 Minor Key Signatures 5.
4 Triads in Minor Keys 5.5 Minor Pentatonic Scales Chapter 6: Lyrical and Textual Analysis 6.1 Music vs. Lyrics 6.2 Form and Lyrics 6.3 Setting Text 6.4 Text Painting 6.5 Lyrics as Protest Chapter 7: Chords with Seventh, Ninth, and Other Extensions 7.
1 Seventh Chords 7.2 Ninth Chords and add-9 7.3 Eleventh Chords and sus4 7.4 Thirteenth Chords and Sixths Chapter 8: Introduction to Harmony and Counterpoint 8.1 Consonance and Dissonance 8.2 Voice-Leading 8.3 Non-chord Tones 8.4 Six-Four Chords Chapter 9: Classical Harmonic Function 9.
1 Cadence, Phrase, and Hypermeter 9.2 Tonic, Predominant, Dominant Functions and Prolongation 9.3 Melodic and Harmonic Sequences 9.4 Intro to Sentences and Periods Chapter 10: Diatonic Chord Loops 10.1 Contains V, begins on I 10.2 Contains V, begins off I 10.3 Missing V, begins on I 10.4 Missing V, begins off I 10.
5 Absent-I Chapter 11: Classical Textures 11.1 Chorale Texture and Four-Part Voice Leading 11.2 Other Four-Part Textures 11.3 Polyphonic Textures 11.4 Harmonizing a Melody Chapter 12: Pop Timbres and Effects 12.1 Timbre Theory 12.2 The Four Textural Layers 12.3 Pop Instruments (and Some Effects) 12.
4 Common Effects Chapter 13: Classical Orchestration and Scoring 13.1 Transposing Instruments 13.2 Reading an Orchestral/Band Score 13.3 Scoring for Voices 13.4 Incorporating Electronics into Classical Music Chapter 14: Applied Chords 14.1 Applied Dominants 14.2 Applied Diminished Chords 14.3 Voice Leading with Applied Chords 14.
4 Other Ways to Resolve Applied Chords 14.5 Neapolitan and Augmented Sixth Chords Chapter 15: Borrowed Chords 15.1 Writing and Voice Leading with Borrowed Chords 15.2 Borrowed Chords in Classical Music 15.3 Borrowed Chords in Popular Music Chapter 16: Modulation 16.1 Pivot Chord Modulation to Closely Related Keys 16.2 Pivot Chord Modulation to Distantly Related Keys 16.3 Common Tone Modulation 16.
4 Direct Modulation 16.5 Interpreting Modulations Chapter 17: Strophic, Verse/Chorus, and Other Pop Forms 17.1 Verse/Chorus Forms 17.2 Strophic Forms 17.3 Some Smaller Sections 17.4 Other Song Forms Chapter 18: Concise Classical Forms 18.1 Binary Forms 18.2 Ternary Forms 18.
3 Rondo Forms Chapter 19: Changing and Asymmetrical Meters 19.1 Syncopation 19.2 Asymmetrical Meter 19.3 Changing Meter 19.4 Tempo Modulations Chapter 20: Metric Displacement and Dissonance 20.1 Metric Displacement 20.2 Hypermetric Displacement and Metric Fake-Outs 20.3 Grouping Dissonance Chapter 21: Chromatic Chord Loops 21.
1 Dual Leading Tone Loops (DLTL) 21.2 Triple Tonic Loops (TTL) 21.3 Modal Pop Loops 21.4 Other Non-Diatonic Pop Loops Chapter 22: Longer Classical Forms 22.1 Sonata Form 22.2 Special Types of Sonata Form 22.3 Sonata-Rondo Form 22.4 Concerto Form Chapter 23: Advanced Chromatic Harmony 23.
1 Altered Dominants and Common-Tone Diminished Seventh Chords 23.2 Enharmonic Modulations 23.3 Mediant Relationships 23.4 Neo-Riemannian Theory Chapter 24: Atonal and Serial Music 24.1 Non-Tertian Sonorities 24.2 Synthetic Scales 24.3 Atonal Pitch Class Sets 24.4 Serial Composition Chapter 25: Minimalism and Postminimalism 25.
1 Early Minimalism 25.2 Postminimalism 25.3 The Minimalist Spirit in Today''s Music 25.4 Conclusion: The State of Classical Music Today Glossary Credits Index.