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Preface | |
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Introduction | |
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Notation, Terminology, and Basic Theory | |
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Elementary Acoustics and the Properties of Sound | |
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Vibrating Strings | |
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Vibrating Air Columns | |
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Vibrating Bars, Plates, and Membranes | |
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Music Notation | |
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The Two Axes: Time and Pitch | |
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Rhythm: Note Values and Rests | |
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Dots and Ties | |
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Meter, Beat, Tempo | |
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Time Signatures: Simple and Compound Time | |
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Artificial Division and Syncopation | |
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Pitch: Staff, Clef, and Ledger Lines | |
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Letter Names, Solfege Syllables, and Accidentals | |
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Octave Designations | |
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Manuscript Writing and Additional Symbols | |
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Intervals and Scales | |
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Basic Intervals: Half Steps and Whole Steps | |
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Scales: Chromatic, Major, and Minor | |
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Key Signatures and Circle of Fifths | |
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Intervals | |
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Relative, Parallel, and Closely Related Keys | |
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Medieval Church Modes | |
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Whole-Tone Scales | |
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Pentatonic Scales | |
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Other Scales | |
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Tuning Systems and Temperament | |
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Chords | |
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Consonance and Dissonance | |
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Triads: Root Position and Inversions | |
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Seventh Chords and Larger Structures in Superimposed Thirds | |
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Other Chord Structures (Fourths, Fifths, Seconds, and so on) | |
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Symbolization | |
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Basic Symbols and Definitions | |
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Names of Scale Degrees and Chords | |
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Figured Bass | |
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Roman Numeral Chord Symbols: Functional Harmony | |
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Chord Symbols in Popular Music and Jazz | |
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Expression Marks and Foreign-Language Terms | |
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Tempo | |
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Dynamics | |
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Style | |
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Phrasing and Articulation | |
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Abbreviations | |
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Foreign Names for Scale Degrees and Keys | |
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Tonal Harmony | |
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Tonality and Key Feeling | |
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Tonality | |
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Key Feeling | |
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Modulation, Secondary Dominants, and Altered Chords | |
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Assignments | |
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Melody Writing | |
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Small Strophic Forms | |
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Symmetry and Balance | |
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Metric Structure | |
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Melodic Cadences | |
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Extensions and Irregularities | |
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Assignments | |
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Four-Part Vocal Texture (Satb) | |
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Voice Ranges | |
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Doubling | |
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Spacing, Distance, Motion, and Crossing of Parts | |
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Chord Inversions | |
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Prohibitions in Four-Part Writing | |
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Assignments | |
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Chord Connection | |
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Principles of Part Writing--Triads in Root Position | |
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Triads in First Inversion | |
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Triads in Second Inversion | |
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Summary of Principles of Chord Connection | |
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Exercises | |
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Chord Choice | |
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Harmonic Cadences | |
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Selecting the Chords | |
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Melodic Cadences | |
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The Bass Line | |
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The Inner Parts | |
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Exercises | |
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Harmonizing A Melody | |
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Analysis of the Melody | |
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Harmonizing an Unfigured Bass | |
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Exercises | |
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Elaboration | |
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Nonharmonic Tones (Melodic Elaboration) | |
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Definitions | |
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Passing Tone | |
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Neighboring Tone | |
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Suspension and Anticipation | |
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Anticipation | |
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Appoggiatura and Escape Tone | |
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Pedal, Free Tone, Combinations | |
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Harmonizations Using Nonharmonic Tones | |
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Exercises | |
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Seventh and Ninth Chords (Harmonic Elaboration) | |
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V[superscript 7] and VII[superscript 7] | |
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II[superscript 7] and IV[superscript 7] | |
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VI[superscript 7], I[superscript 7], and III[superscript 7] | |
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Ninth Chords | |
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Eleventh and Thirteenth Chords | |
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Exercises | |
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Altered Chords and Chromaticism (Tonal Elaboration) | |
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The Principle of Melodic Alteration | |
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Raised Tones: Secondary Dominants, Augmented Triads | |
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Lowered Tones: Lowered Sixth Degree, Neapolitan Chord | |
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Raised and Lowered Tones: Augmented Sixth Chords the Altered Dominant Chord, other Functions | |
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Harmonic Alteration | |
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Remote Modulation | |
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The Twelve-Tone Scale | |
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Solving Figured Bass | |
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Models for Practice | |
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Exercises | |
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Analysis and Score-Reading | |
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Keyboard Style | |
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Solo Instrument (or Voice) with Accompaniment | |
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Trios, Quartets and Small Ensembles | |
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The Full Orchestral Score | |
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The Analysis of an Extended Work | |
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Third Movement: C Minor First Rondo Form (ABA) | |
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Foreign-Language Names for Orchestral Instruments | |
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Range and Transposition of Orchestral Instruments | |
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Diagrams of Homophonic Forms | |
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Bach Chorales for Analysis | |
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Bibliography | |
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Index | |