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Preface | |
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A Message to the Student: Why Do We Study Music Theory? | |
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Introduction: The Fundamentals of Music | |
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Pitch: Notation and Intervals | |
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The Notation of Pitch | |
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Intervals | |
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Consonant and Dissonant Intervals | |
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Rhythm and Meter | |
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Durational Symbols | |
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Pulse, Beat, and Meter | |
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Tempo | |
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Simple and Compound Meters | |
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The Notation of Meter | |
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Metric Accent | |
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Choosing a Meter to Notate a Melody | |
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Asymmetrical Meters | |
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Irregular Divisions of the Beat | |
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Irregular Rhythmic and Metric Relationships | |
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Some Notes on the Correct Notation of Rhythm | |
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Tonality: Scales and Keys | |
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Modes and Scales | |
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Key Signatures | |
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Other Modes and Scales | |
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The Rudiments of Harmony I: Triads and Seventh Chords | |
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Chords | |
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Triads | |
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Seventh Chords | |
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The Rudiments of Harmony II: Labeling Chords. Musical Texture | |
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Harmonic Function, Roman Numerals | |
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Figured Bass | |
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Musical Texture | |
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Introduction to Species Counterpoint | |
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The Melodic Line in Species Counterpoint | |
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General Guidelines for Two-part Counterpoint | |
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First Species (1:1) | |
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Second Species (2:1) | |
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Third Species (4:1) | |
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Fourth Species (Syncopated) | |
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Diatonic Harmony | |
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The Connection of Chords | |
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Harmonic Progression | |
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Notating, Voicing, and Spacing Chords | |
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Chord Connection: the Principles of Part-writing | |
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Voice-leading Guidelines for the Three Basic Types of Progressions | |
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Melodic Style | |
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Voice Independence | |
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Why All These Rules? | |
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The Tonic and Dominant Triads in Root Position | |
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The Tonic Triad | |
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The Dominant Triad | |
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The I-V-I Progression | |
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Characteristic Soprano-Bass Patterns | |
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The I-V-I Progression as a Form-generating Structure | |
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Pitch Patterns | |
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Harmonic Function; the Subdominant Triad in Root Position | |
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The Basic Harmonic Functions | |
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The Subdominant Triad | |
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Voice-Leading Guidelines | |
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Characteristic Soprano-Bass Patterns | |
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A Model to Elaborate the Fundamental Progression | |
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Pitch Patterns | |
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Triads in First Inversion | |
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The Triad in First Inversion: Uses and Function | |
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The Neighbor V6 | |
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Elaborating the I-V-I Progression | |
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Voice-Leading Guidelines | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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The Supertonic: Melody Harmonization | |
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The Supertonic in Root Position | |
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The Supertonic in First Inversion | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Harmonizing a Melody | |
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Pitch Patterns | |
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Nonchord Tones | |
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The Passing Tone | |
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The Neighbor Note | |
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The Anticipation | |
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Incomplete Neighbors | |
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Voice-Leading Guidelines | |
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Suspensions | |
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Pedal Point | |
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6/4 Chords | |
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Consonant 6/4 Chords: The Arpeggiated 6/4 | |
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Dissonant 6/4 Chords | |
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The Neighbor 6/4 | |
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The Passing 6/4 | |
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The Cadential 6/4 | |
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Voice-Leading Guidelines | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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The Dominant Seventh and Its Inversions | |
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V7 in root position | |
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Inversions of the Dominant Seventh | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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The Leading-Tone Triad | |
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Doubling and Voice Leading | |
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The Passing viio6 | |
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viio6 as a Dominant Substitute | |
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The Leading-Tone Cadence | |
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Voice-Leading Guidelines | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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Cadences | |
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Authentic Cadences | |
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The Half Cadence | |
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The Plagal Cadence | |
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The Deceptive Cadence | |
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Cadences: Summary and Voice Leading | |
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Pitch Patterns | |
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Melodic Organization I: Phrase Structure | |
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Motive | |
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Phrase | |
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Period Structure | |
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Form Diagrams | |
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More on Period Structure | |
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Phrase Group | |
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Melodic Organization II: Thematic | |
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Development; Phrase Extension | |
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Melodic Developmental Techniques | |
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Phrase Extension | |
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Harmonic Rhythm; Metric Reduction | |
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Harmonic Rhythm | |
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Metric Reduction | |
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Metric Reduction and Performance | |
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Compound Melody | |
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Writing Your Own Progresisons | |
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The Mediant, Submediant, and Subtonic Triads | |
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The Mediant and Submediant Triads as Prolongations of the Tonic | |
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Other Uses of the Mediant and Submediant | |
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Voice-Leading Guidelines | |
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The Subtonic | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Harmonizing a Melody with Keyboard Figuration | |
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Pitch Patterns | |
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Other Diatonic Seventh Chords | |
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General Doubling and Voice-Leading Guidelines | |
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The Leading-Tone Sevenths | |
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The Half-Diminished Seventh | |
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The Fully-Diminished Seventh | |
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The Supertonic Seventh | |
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The Subdominant Seventh | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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Harmonic Sequences | |
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The Descending Circle-of-5ths Sequence | |
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The Ascending Circle-of-5ths Sequence | |
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Sequences by Descending 3rds | |
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Sequences by Descending and Ascending Steps | |
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A Summary of Harmonic Sequences: Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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Chromatic Harmony and Form | |
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Secondary Dominants I | |
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Chromatic Harmony | |
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Tonicization: Secondary Dominants | |
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Spelling Secondary Dominants | |
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V7 of V | |
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Voice-Leading Guidelines | |
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V7 of IV (iv) | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Pitch Patterns | |
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Secondary Dominants II | |
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V7 of ii | |
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V7 of vi (VI) | |
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V7 of iii (III) | |
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V7 of VII | |
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Characteristic Soprano-Bass Patterns | |
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Elaborating the I-V-I Progression | |
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Deceptive Resolutions of Secondary Dominants | |
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Sequences with Secondary Dominants | |
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Secondary Key Areas | |
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Pitch Patterns | |
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Secondary Leading-Tone Chords | |
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Secondary Leading-tone Seventh Chords | |
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Secondary viio7 Chords in Inversion | |
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The viio7 Over a Pedal Point | |
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Elaborating the I-V-I Progression | |
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A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21 | |
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Secondary Functions in Context: Two Songs by Mozart | |
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Pitch Patterns | |
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Modulation to Closely-Related Keys | |
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Key Relationships: Closely-Related Keys | |
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Diatonic Pivot-Chord Modulation | |
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Modulation to V | |
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Modulation to the Relative Major and Minor Keys | |
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Writing Pivot Chord Modulations | |
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Chromatic Modulation: Chromatic Pivot Chords | |
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Writing Chromatic Modulations | |
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Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods | |
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Harmonizing Modulating Melodies | |
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Pitch Patterns | |
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Small Forms: Binary and Ternary; Variation Forms | |
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The Binary Principle | |
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Binary Tonal Types | |
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Binary Formal Designs | |
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The Ternary Principle | |
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Variation Forms | |
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Continuous Variations | |
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Sectional Variations | |
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Contrapuntal Genres | |
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The Two-Voice Invention | |
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Bach: Invention no. 3, in DM | |
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The Fugue | |
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Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I | |
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Some Additional Fugal Techniques | |
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The Fugato | |
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Modal Mixture | |
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Borrowing Chords from the Minor Mode in a Major Key | |
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Borrowing Chords from the Major Mode in a Minor Key | |
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Change of mode | |
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Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression | |
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Pitch Patterns | |
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The Neapolitan Chord | |
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The Neapolitan Sixth | |
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Tonicization of the Neapolitan | |
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The Neapolitan in Root Position | |
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Tritone Substitution: The Neapolitan as a Substitute for V7 | |
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Pitch Patterns | |
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Augmented Sixth Chords | |
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General Features and Types of +6 Chords | |
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The Italian +6 | |
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The German +6 | |
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The French +6 | |
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Other Types of +6 Chords | |
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Summary | |
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Tonal Relationship Between the Neapolitan and the +6 Chords | |
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Pitch Patterns | |
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Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I | |
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Chromatic Pivot Chords | |
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Writing Chromatic Pivot Chord Modulations | |
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Modulation by Enharmonic Reinterpretation of the Gr +6 | |
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Writing Modulations with +6 Chords | |
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Modulation by enharmonic reinterpretation of viio7 | |
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Writing Modulation with viio7 Chords | |
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Pitch Patterns | |
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Modulation to Distantly-Related Keys II; Linear Chromaticism I | |
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Chromatic Third Relationships | |
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Triads Related by Chromatic Third | |
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Keys related by Chromatic Third: Common Tone Modulation | |
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Linear Chromaticism I: Linear Chromatic Chords | |
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Altered triads | |
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Augmented Sixth Chords with Dominant and Embellishing; Functions | |
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The Common-Tone Diminished Seventh Chord | |
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Pitch Patterns | |
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Introduction to Large Forms | |
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Sonata Form | |
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Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25) | |
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Guided Studies of Sonata Form | |
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The Rondo | |
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A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21) | |
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Guided Studies of Rondo Forms | |
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Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II | |
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Expanding Chordal Sonorities: Extended Tertian Chords | |
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Linear Chromaticism II: Linear Expansions of Tonality | |
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Appoggiatura Chords | |
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Chromatic Sequences Revisited | |
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Nonsequential Linear Processes | |
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Pitch Patterns | |
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The German Romantic Lied: Chromatic Harmony in Context | |
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The German Romantic Lied | |
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Schubert, Erlkonig | |
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Schumann, "Widmung" | |
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Modulation by Enharmonic Reinterpretation of V+ | |
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Wolf, "Das Verlassene Magdlein" | |
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Pitch Patterns | |
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Toward (and Beyond) the Limits of Functional Tonality | |
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Tonal Ambiguity and Implied Tonality | |
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Equal Divisions of the Octave | |
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Parsimonious Voice Leading: The PLR Model | |
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Beyond the Confines of Functional Tonality | |
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Pitch Patterns | |
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Appendix Transposing Instruments | |
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Subject Index | |
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Musical Example Index | |