About the Authors | |
Preface To the Student | |
Fundamentals | |
Elements of Pitch | |
The Keyboard and Octave Registers Notation of the Staff | |
The Major Scale | |
The Major Key Signatures Minor Scale Minor Key Signatures Scale | |
Degree Names Intervals Perfect, Major, and Minor Intervals | |
Augmented and Diminished Intervals Inversion of Intervals | |
Consonant and Dissonant Intervals | |
Summary | |
Elements of Rhythm Rhythm Durational Symbols Beat and Tempo Meter Division of the Beat Simple | |
Time Signatures Compound | |
Time Signatures | |
Time Signatures Summarized More on Durational Symbols | |
Summary | |
Introduction to Triads and Seventh Chords | |
Introduction Triads Seventh Chords | |
Inversions of Chords | |
Inversion Symbols and Figured Bass Lead Sheet Symbols | |
Recognizing Chords in Various Textures | |
Summary | |
Diatonic Chords in Major and Minor Keys Introduction | |
The Minor Scale Diatonic Triads in Major | |
Diatonic Triads in Minor | |
Diatonic Seventh Chords in Major | |
Diatonic Seventh Chords in Minor | |
Summary | |
Diatonic Triads | |
Principles of Voice Leading Introduction | |
The Melodic Line Notating Chords Voicing a Singe Triad Parallel Motion | |
Summary | |
Root Position Part Writing Introduction Root Position | |
Part Writing with Repeated Roots Root Position | |
Part Writing with Roots a 4th (5th) Apart Root Position | |
Part Writing with Roots a 3rd (6th) Apart Root Position | |
Part Writing with Roots a 3rd(7th) Apart Instrumental Ranges and Transpositions | |
Summary | |
Harmonic Progression Introduction Sequences and the Circle of Fifths | |
The I and V Chords | |
The II Chord | |
The VI Chord | |
The III Chord | |
The VII Chord | |
The IV Chord Common Exceptions Differences in the Minor Mode | |
Progressions Involving Seventh Chords Harmonizing a Simple Melody | |
Conclusion | |
Summary | |
Triads in First Inversion Introduction Bass Arpeggiation | |
Substituted First Inversion Triads Parallel Sixth Chords | |
Part Writing First Inversion Triads Soprano-Bass Counterpoint | |
Summary | |
Triads in Second Inversion Introduction Bass | |
Arpeggiation and the Melodic Bass | |
The Cadential Six-Four | |
The Passing Six-Four | |
The Pedal Six-Four | |
Part Writing for Second Inversion Triads | |
Summary | |
Cadences, Phrases, and Periods Musical Form Cadences | |
Cadences and Harmonic Rhythm Motives and Phrases Mozart: SAn die Freude Period Forms | |
Summary | |
Non Chord Tones 1 Introduction Classification of Non-Chord | |
Tones Passing | |
Tones Neighboring | |
Tones Suspensions and Retardations Figured Bass and Lead Sheet Symbols Embellishing a Simple Texture | |
Summary | |
Non-Chord Tones 2 Appoggiaturas Escape Tones | |
The Neighbor Group Anticipations | |
The Pedal Point Special Problems in the Analysis of Non-Chord Tones | |
Summary | |
Diatonic Seventh Chords | |
The V7 Chord Introduction General Voice-Leading Considerations | |
The V7 in Root Position | |
The V7 in Three Parts Other Resolutions of the V7 | |
The Inverted V7 Chord | |
The V6/5 Chord | |
The V4/3 Chord | |
The V4/2 Chord | |
The Approach to the Seventh | |
Summary | |
| |
The II7 and VII7 Chords Introduction | |
The II7 Chord | |
The VII7 Chord in Major | |
The VII7 Chord in Minor | |
Summary | |
Other Diatonic Seventh Chords | |
The IV7 Chord | |
The VI7 Chord | |
The I7 Chord | |
The III7 Chord Seventh Chords and the Circle-of -Fifths Progression | |
Summary | |
Chromaticism 1 | |
Secondary Functions 1 | |
Chromaticism and Altered Chords Secondary Functions | |
Secondary Dominant Chords Spelling Secondary | |
Dominants Recognizing Secondary Dominants | |
Secondary Dominants in Context | |
Summary | |
Secondary Functions 2 | |
Secondary Leading-Tone Chords Spelling Secondary | |
Leading-Tone Chords Recognizing Secondary | |
Leading-Tone Chords Secondary | |
Leading-Tone Chords in Context Sequences Involving Secondary | |
Functions Deceptive Resolutions of Secondary Functions Other | |
Secondary Functions | |
Summary | |
Modulations Using Diatonic Common Chords | |
Modulation and Change of Key | |
Modulation and Tonicization Key Relationships Common-Chord Modulation Analyzing Common-Chor | |
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