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Preface | |
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The Primary Materials and Procedures | |
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Key, Scales, and Modes | |
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Tonal Relationships; Major Keys | |
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Minor Keys; Modes; Tonality | |
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Exercises | |
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Intervals | |
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Recognizing and Constructing Intervals | |
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The Overtone Series | |
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Consonance and Dissonance | |
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Intervals in a Key | |
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Exercises | |
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Rhythm and Meter | |
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Rhythmic Organization | |
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Rhythm and Dissonance Treatment | |
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Exercises | |
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Triads and Seventh Chords | |
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Triads | |
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Seventh Chords | |
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Texture and Structure | |
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Exercises | |
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Procedures of Four-Part Writing | |
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Chord Construction | |
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Voice Leading | |
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Points for Review | |
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Exercises | |
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I-V-I and Its Elaborations | |
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I, V, and V[superscript 7] | |
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Tonic and Dominant | |
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I-V-I in Four Parts | |
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The Dominant Seventh | |
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Points for Review | |
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Exercises | |
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I[superscript 6], V[superscript 6], and VII[superscript 6] | |
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I[superscript 6] and V[superscript 6] | |
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VII[superscript 6] (Leading-Tone Triad) | |
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Points for Review | |
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Exercises | |
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Inversions of V[superscript 7] | |
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V[superscript 6 subscript 5], V[superscript 4 subscript 3], and V[superscript 4 subscript 2] | |
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Contrapuntal Expansions of Tonic and Dominant | |
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Points for Review | |
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Exercises | |
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Leading to V: IV, II, and II[superscript 6] | |
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Intermediate Harmonies | |
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IV and II in Contrapuntal Progressions | |
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Expansions of II and IV | |
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Harmonic Syntax; Rhythmic Implications | |
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Points for Review | |
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Exercises | |
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The Cadential 6/4 | |
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An Intensification of V | |
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Points for Review | |
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Exercises | |
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VI and IV[superscript 6] | |
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Uses of VI | |
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Uses of IV[superscript 6] | |
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Points for Review | |
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Exercises | |
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Supertonic and Subdominant Seventh Chords | |
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Supertonic Seventh Chords | |
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Subdominant Seventh Chords | |
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Points for Review | |
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Exercises | |
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Other Uses of IV, IV[superscript 6], and VI | |
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IV and IV[superscript 6] | |
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VI | |
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Summary of Cadences | |
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Points for Review | |
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Exercises | |
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V as a Key Area | |
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Tonicization and Modulation | |
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Applications to Written Work | |
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Points for Review | |
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Exercises | |
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III and VII | |
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Uses of III | |
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Uses of VII | |
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Points for Review | |
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Exercises | |
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5/3, 6/3, and 6/4 Techniques | |
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5/3-Chord Techniques | |
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Progressions by 5ths and 3rds | |
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Contrapuntal Chord Functions | |
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V as a Minor Triad | |
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Points for Review | |
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Exercises | |
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Diatonic Sequences | |
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Compositional Functions | |
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Sequences with Descending 5ths | |
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Sequences with Ascending 5ths | |
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Sequences Using the Ascending 5-6 Technique | |
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Sequences Falling in 3rds (Descending 5-6) | |
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Less Frequent Sequential Patterns | |
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Sequences Leading to Tonicized V | |
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Sequences in Minor | |
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Points for Review | |
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Exercises | |
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6/3-Chord Techniques | |
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6/3 Chords in Parallel Motion | |
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Other Uses of 6/3 Chords | |
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Points for Review | |
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Exercises | |
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6/4-Chord Techniques | |
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Dissonant 6/4 Chords | |
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Special Treatment of Cadential 6/4 Chords | |
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Consonant 6/4 Chords | |
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Some Special Cases | |
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Points for Review | |
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Exercises | |
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Elements of Figuration | |
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Melodic Figuration | |
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Chordal Skips (Arpeggios) | |
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Passing and Neighboring Tones | |
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Points for Review | |
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Exercises | |
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Rhythmic Figuration | |
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Suspensions | |
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Anticipations | |
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The Pedal Point | |
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Points for Review | |
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Exercises | |
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Dissonance and Chromaticism I | |
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Leading-Tone Seventh Chords | |
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The Diminished Seventh Chord | |
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The Half-Diminished Seventh Chord | |
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Points for Review | |
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Exercises | |
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Mixture | |
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Combining Modes | |
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Points for Review | |
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Exercises | |
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Remaining Uses of Seventh Chords | |
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Seventh Chords in Sequence | |
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Expanded Treatment of Seventh Chords | |
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Apparent Seventh Chords | |
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Points for Review | |
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Exercises | |
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Applied V and VII | |
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Applied Chords | |
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Chords Applied to V | |
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Other Applied Chords | |
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Applied Chords in Sequence | |
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Points for Review | |
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Exercises | |
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Diatonic Modulation | |
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Modulatory Techniques | |
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Modulation, Large-Scale Motion, and Form | |
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Points for Review | |
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Exercises | |
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Dissonance and Chromaticism II | |
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Seventh Chords with Added Dissonance | |
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Ninths | |
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"Elevenths" and "Thirteenths" | |
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Points for Review | |
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Exercises | |
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The Phrygian II (Neapolitan) | |
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A Chord Leading to V | |
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Other Uses of [musical flat]II | |
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Chromatic Notation | |
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Points for Review | |
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Exercises | |
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Augmented Sixth Chords | |
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A Chromatic Preparation for V | |
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Approaching Augmented Sixth Chords | |
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Details of Voice Leading | |
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Augmented Sixths and Modulation | |
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"Inversions" of Augmented Sixth Chords | |
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Motion to Applied Dominants and Nondominant Chords | |
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German Sixth and Dominant Seventh | |
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Points for Review | |
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Exercises | |
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Other Chromatic Chords | |
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Advanced Uses of Mixture | |
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Augmented Triads | |
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Altered Dominant Seventh Chords | |
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Common-Tone Diminished Seventh Chords | |
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Other Chromatic Embellishing Chords | |
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Points for Review | |
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Exercises | |
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Chromatic Voice-Leading Techniques | |
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Chromaticism Based on Parallel Motion | |
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Chromaticism Based on Contrary Motion | |
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Equal Divisions of the Octave | |
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Points for Review | |
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Exercises | |
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Chromaticism in Larger Contexts | |
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New Modulatory Techniques | |
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Chromatic Tonal Areas | |
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Points for Review | |
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Exercises | |
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Keyboard Progressions | |
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Score Reduction | |
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Index of Musical Examples | |
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Subject Index | |