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Fundamentals | |
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Elements of Pitch | |
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The Keyboard and Octave Registers | |
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Notation of the Staff | |
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The Major Scale | |
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The Major Key Signatures | |
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Minor Scale | |
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Minor Key Signatures | |
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Scale Degree Names | |
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Intervals | |
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Perfect, Major, and Minor Intervals | |
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Augmented and Diminished Intervals | |
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Inversion of Intervals | |
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Consonant and Dissonant Intervals | |
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Summary | |
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Variations | |
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Elements of Rhythm | |
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Rhythm | |
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Durational Symbols | |
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Beat and Tempo | |
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Meter | |
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Division of the Beat | |
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Simple Time Signatures | |
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Compound Time Signatures | |
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Time Signatures Summarized | |
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More on Durational Symbols | |
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Summary | |
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Variations | |
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Introduction to Triads and Seventh Chords | |
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Introduction | |
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Triads | |
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Seventh Chords | |
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Inversions of Chords | |
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Inversion Symbols and Figured Bass | |
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Lead Sheet Symbols | |
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Recognizing Chords in Various Textures | |
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Summary | |
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Variations | |
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Diatonic Chords in Major and Minor Keys | |
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Introduction | |
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Diatonic Triads in Major | |
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The Minor Scale | |
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Diatonic Triads in Minor | |
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Diatonic Seventh Chords in Major | |
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Diatonic Seventh Chords in Minor | |
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Summary | |
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Variations | |
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Diatonic Triads | |
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Principles of Voice Leading | |
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Introduction | |
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The Melodic Line | |
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Notating Chords | |
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Voicing a Singe Triad | |
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Parallel Motion | |
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Summary | |
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Variations | |
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Root Position Part Writing | |
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Introduction | |
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Root Position Part Writing with Repeated Roots | |
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Root Position Part Writing with Roots a 4th (5th) Apart | |
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Root Position Part Writing with Roots a 3rd (6th) Apart | |
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Root Position Part Writing with Roots a 2nd (7th) Apart | |
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Instrumental Ranges and Transpositions | |
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Summary | |
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Harmonic Progression | |
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Introduction | |
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Sequences and the Circle of Fifths | |
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The I and V Chords | |
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The II Chord | |
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The VI Chord | |
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The III Chord | |
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The VII Chord | |
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The IV Chord | |
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Common Exceptions | |
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Differences in the Minor Mode | |
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Progressions Involving Seventh Chords | |
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More About Harmonic Sequences | |
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Harmonizing a Simple Melody | |
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Conclusion | |
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Summary | |
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Triads in First Inversion | |
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Introduction | |
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Bass Arpeggiation | |
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Substituted First Inversion Triads | |
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Inversions in Lead Sheets | |
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Parallel Sixth Chords | |
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Part Writing First Inversion Triads | |
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Soprano-Bass Counterpoint | |
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Summary | |
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Variations | |
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Triads in Second Inversion | |
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Introduction | |
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Bass Arpeggiation and the Melodic Bass | |
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The Cadential Six-Four | |
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The Passing Six-Four | |
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The Pedal Six-Four | |
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Part Writing for Second Inversion Triads | |
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Summary | |
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Cadences, Phrases, Periods, and Sentences | |
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Musical Form | |
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Cadences | |
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Cadences and Harmonic Rhythm | |
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Motives and Phrases | |
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Mozart: "An die Freude" | |
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Period Forms | |
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The Sentence | |
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Summary | |
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Non Chord Tones 1 | |
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Introduction | |
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Classification of Non-Chord Tones | |
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Passing Tones | |
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Neighboring Tones | |
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Suspensions and Retardations | |
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Embellishing a Simple Texture | |
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Figured Bass and Lead Sheet Symbols | |
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Summary | |
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Non-Chord Tones 2 | |
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Appoggiaturas | |
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Escape Tones | |
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The Neighbor Group | |
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Anticipations | |
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The Pedal Point | |
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Special Problems in the Analysis of Non-Chord Tones | |
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Summary | |
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Variations | |
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Diatonic Seventh Chords | |
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The V7 Chord | |
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Introduction | |
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General Voice-Leading Considerations | |
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The Approach to the 7th | |
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The V7 in Root Position | |
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The V7 in Three Parts | |
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Other Resolutions of the V7 | |
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The Inverted V7 Chord | |
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The V6/5 Chord | |
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The V4/3 Chord | |
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The V4/2 Chord | |
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Summary | |
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The II7 and VII7 Chords | |
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Introduction | |
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The II7 Chord | |
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The VII7 Chord in Major | |
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The VII7 Chord in Minor | |
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Summary | |
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Other Diatonic Seventh Chords | |
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The IV7 Chord | |
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The VI7 Chord | |
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The I7 Chord | |
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The III7 Chord | |
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Seventh Chords and the Circle-of -Fifths Progression | |
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Summary | |
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Chromaticism 1 | |
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Secondary Functions 1 | |
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Chromaticism and Altered Chords | |
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Secondary Functions and Tonicization | |
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Secondary Dominant Chords | |
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Spelling Secondary Dominants | |
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Recognizing Secondary Dominants | |
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Secondary Dominants in Context | |
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Summary | |
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Variations | |
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Secondary Functions 2 | |
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Secondary Leading-Tone Chords | |
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Spelling Secondary Leading-Tone Chords | |
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Recognizing Secondary Leading-Tone Chords | |
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Secondary Leading-Tone Chords in Context | |
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Sequences Involving Secondary Functions | |
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Deceptive Resolutions of Secondary Functions | |
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Other Secondary Functions | |
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Summary | |
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Modulations Using Diatonic Common Chords | |
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Modulation and Change of Key | |
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Modulation and Tonicization | |
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Key Relationships | |
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Common-Chord Modulation | |
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Analyzing Common-Chord Modulation | |
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Summary | |
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Some Other Modulatory Techniques | |
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Altered Chords as Common Chords | |
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Sequential Modulation | |
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Modulation by Common Tone | |
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Monophonic Modulation | |
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Direct Modulation | |
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Summary | |
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Binary and Ternary Forms | |
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Formal Terminology | |
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Binary Forms | |
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Ternary Forms | |
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Rounded Binary Forms | |
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12-Bar Blues | |
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Other Forms with a Ternary Design | |
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Sonata Form | |
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Rondo Form | |
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Summary | |
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Variations | |
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Chromaticism 2 | |
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Mode Mixture and the Neapolitan | |
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Introduction | |
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Borrowed Chords in Minor | |
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Borrowed Chords in Major | |
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The Use of B-Flat 6 | |
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Other Borrowed Chords in Major | |
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Modulations Involving Mode Mixture and the Neapolitan | |
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Summary | |
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Variations | |
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Augmented Sixth Chords | |
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The Interval of the Augmented Sixth | |
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The Italian Augmented Sixth Chord | |
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The French Augmented Sixth Chord | |
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The German Augmented Sixth Chord | |
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Other Uses of the Conventional Augmented Sixth Chords | |
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Other Bass Positions | |
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Summary | |
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Variations | |
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Enharmonic Spellings and Enharmonic Modulations | |
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Enharmonic Spellings | |
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Enharmonic Reinterpretation | |
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Enharmonic Modulations Using the Major-Minor Seventh Sonority | |
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Enharmonic Modulations Using the Diminished Seventh Chord | |
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Other Examples of Enharmonicism | |
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Summary | |
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Variations | |
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Further Elements of the Harmonic Vocabulary | |
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Introduction | |
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The Dominant with a Substituted 6th | |
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The Dominant with a Raised 5th | |
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Ninth, Eleventh, and Thirteenth Chords | |
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The Common-Tone Diminished Seventh Chord | |
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Simultaneities | |
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Coloristic Chord Progressions | |
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Summary | |
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Tonal Harmony in the Late Nineteenth Century | |
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Introduction | |
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More About Mediants | |
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Mediant Chains and Other Combinations | |
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Counterpoint and Voice Leading | |
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Sequences and Other Systematic Procedures | |
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Summary | |
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An Introduction to Twentieth-Century Music | |
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Materials and Techniques | |
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Introduction | |
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Impressionism | |
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Scale Materials | |
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The Diatonic Modes | |
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Pentatonic Scales | |
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Synthetic Scales | |
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Chord Structure | |
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Extended Tertian Harmony | |
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Polyharmony | |
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Chord/Scale Connections | |
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Quartal and Secundal Harmony | |
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Other Concepts | |
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Parallelism | |
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Pandiatonicism | |
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Rhythm and Meter | |
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Summary | |
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Post-Tonal Theory | |
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Introduction | |
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Basic Atonal Theory | |
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Normal Form | |
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Equivalence Relations and Mod 12 | |
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Transposition (Tn) and Inversion (TnI) | |
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Set Class and Prime Form | |
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Interval Vector | |
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Twelve-Tone Serialism | |
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Integral Serialism | |
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Summary | |
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New Directions | |
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Introduction | |
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Explorations of Texture, Timbre, and Tuning | |
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Indeterminacy | |
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Minimalism | |
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Electronic and Computer Music | |
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Summary and Forward Look | |
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Instrumental Ranges and Transpositions | |
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Lead-Sheet Symbols | |
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Set Class List | |
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Answers to Self-Tests | |
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Index of Music Examples | |
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Subject Index | |
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Index of Music Examples | |
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Name Index | |
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Subject Index | |