Preface | p. v |
The Primary Materials and Procedures | |
Key, Scales, and Modes | p. 3 |
Tonal Relationships; Major Keys | p. 4 |
Minor Keys; Modes; Tonality | p. 14 |
Exercises | p. 20 |
Intervals | p. 22 |
Recognizing and Constructing Intervals | p. 22 |
The Overtone Series | p. 25 |
Consonance and Dissonance | p. 27 |
Intervals in a Key | p. 30 |
Exercises | p. 34 |
Rhythm and Meter | p. 36 |
Rhythmic Organization | p. 36 |
Rhythm and Dissonance Treatment | p. 43 |
Exercises | p. 45 |
Triads and Seventh Chords | p. 47 |
Triads | p. 48 |
Seventh Chords | p. 56 |
Texture and Structure | p. 59 |
Exercises | p. 61 |
Procedures of Four-Part Writing | p. 63 |
Chord Construction | p. 63 |
Voice Leading | p. 69 |
Points for Review | p. 77 |
Exercises | p. 77 |
I-V-I and its Elaborations | |
I, V, and V[superscript 7] | p. 81 |
Tonic and Dominant | p. 82 |
The Dominant Seventh | p. 87 |
Points for Review | p. 92 |
Exercises | p. 93 |
I[superscript 6], V[superscript 6], and VII[superscript 6] | p. 95 |
I[superscript 6] and V[superscript 6] | p. 95 |
VII[superscript 6] (Leading-Tone Triad) | p. 101 |
Points for Review | p. 106 |
Exercises | p. 106 |
Inversions of V[superscript 7] | p. 110 |
V 6/5, V 4/3, and V 4/2 | p. 110 |
Contrapuntal Expansions of Tonic and Dominant | p. 116 |
Points for Review | p. 121 |
Exercises | p. 121 |
Leading to V: IV, II, and II[superscript 6] | p. 123 |
Intermediate Harmonies | p. 123 |
IV and II in Contrapuntal Progressions | p. 130 |
Expansions of II and IV | p. 132 |
Rhythmic Implications | p. 136 |
Points for Review | p. 138 |
Exercises | p. 138 |
The Cadential 6/4 | p. 140 |
An Intensification of V | p. 140 |
Points for Review | p. 148 |
Exercises | p. 148 |
VI and IV[superscript 6] | p. 150 |
Uses of VI | p. 150 |
Uses of IV[superscript 6] | p. 155 |
Points for Review | p. 160 |
Exercises | p. 160 |
Supertonic and Subdominant Seventh Chords | p. 162 |
Supertonic Seventh Chords | p. 163 |
Subdominant Seventh Chords | p. 173 |
Points for Review | p. 176 |
Exercises | p. 177 |
Other Uses of IV, IV[superscript 6], and VI | p. 179 |
IV and IV[superscript 6] | p. 179 |
VI | p. 185 |
Points for Review | p. 191 |
Exercises | p. 192 |
V as a Key Area | p. 194 |
Tonicization and Modulation | p. 195 |
Applications to Written Work | p. 208 |
Points for Review | p. 210 |
Exercises | p. 210 |
III and VII | p. 212 |
Uses of III | p. 212 |
Uses of VII | p. 221 |
Points for Review | p. 225 |
Exercises | p. 225 |
5/3, 6/3, and 6/4 Techniques | |
5/3-Chord Techniques | p. 231 |
Progressions by 5ths and 3rds | p. 231 |
Contrapuntal Chord Functions | p. 237 |
Points for Review | p. 244 |
Exercises | p. 244 |
Diatonic Sequences | p. 246 |
Compositional Functions | p. 247 |
Sequences with Descending 5ths | p. 250 |
Sequences with Ascending 5ths | p. 253 |
Sequences Using the Ascending 5-6 Technique | p. 256 |
Sequences Falling in 3rds (Descending 5-6) | p. 259 |
Less Frequent Sequential Patterns | p. 261 |
Sequences in Minor | p. 263 |
Points for Review | p. 267 |
Exercises | p. 268 |
6/3-Chord Techniques | p. 270 |
6/3 Chords in Parallel Motion | p. 271 |
Other Uses of 6/3 Chords | p. 276 |
Points for Review | p. 282 |
Exercises | p. 282 |
6/4-Chord Techniques | p. 284 |
Dissonant 6/4 Chords | p. 286 |
Special Treatment of Cadential 6/4 Chords | p. 295 |
Consonant 6/4 Chords | p. 299 |
Some Exceptional Cases | p. 301 |
Points for Review | p. 303 |
Exercises | p. 304 |
Elements of Figuration | |
Melodic Figuration | p. 309 |
Chordal Skips (Arpeggios) | p. 311 |
Passing and Neighboring Tones | p. 314 |
Points for Review | p. 324 |
Exercises | p. 325 |
Rhythmic Figuration | p. 328 |
Suspensions | p. 328 |
Anticipations | p. 345 |
The Pedal Point | p. 348 |
Points for Review | p. 350 |
Exercises | p. 351 |
Dissonance and Chromaticism I | |
Mixture | p. 355 |
Combining Modes | p. 355 |
Points for Review | p. 365 |
Exercises | p. 366 |
Leading-Tone Seventh Chords | p. 367 |
The Diminished Seventh Chord | p. 368 |
The Half-Diminished Seventh Chord | p. 375 |
Points for Review | p. 377 |
Exercises | p. 377 |
Remaining Uses of Seventh Chords | p. 379 |
Seventh Chords in Sequence | p. 380 |
Expanded Treatment of Seventh Chords | p. 385 |
Apparent Seventh Chords | p. 390 |
Points for Review | p. 394 |
Exercises | p. 394 |
Applied V and VII | p. 396 |
Applied Chords | p. 397 |
Chords Applied to V | p. 401 |
Other Applied Chords | p. 405 |
Applied Chords in Sequence | p. 410 |
Points for Review | p. 418 |
Exercises | p. 418 |
Diatonic Modulation | p. 420 |
Modulatory Techniques | p. 420 |
Modulation, Large-Scale Motion, and Form | p. 427 |
Points for Review | p. 435 |
Exercises | p. 436 |
Dissonance and Chromaticism II | |
Seventh Chords with Added Dissonance | p. 441 |
Ninths | p. 441 |
"Elevenths" and "Thirteenths" | p. 449 |
Points for Review | p. 454 |
Exercises | p. 454 |
The Phrygian II (Neapolitan) | p. 456 |
A Chord Leading to V | p. 456 |
Other Uses of II | p. 468 |
Chromatic Notation | p. 470 |
Points for Review | p. 474 |
Exercises | p. 474 |
Augmented Sixth Chords | p. 477 |
A Chromatic Preparation for V | p. 478 |
Approaching Augmented Sixth Chords | p. 483 |
"Inversions" of Augmented Sixth Chords | p. 493 |
Motion to Goals Other Than V | p. 495 |
German Sixth and Dominant Seventh | p. 497 |
Points for Review | p. 500 |
Exercises | p. 500 |
Other Chromatic Chords | p. 503 |
Advanced Uses of Mixture | p. 504 |
Augmented Triads | p. 510 |
Altered Dominant Seventh Chords | p. 514 |
Common-Tone Diminished Seventh Chords | p. 516 |
Other Chromatic Embellishing Chords | p. 519 |
Points for Review | p. 521 |
Exercises | p. 521 |
Chromatic Voice-Leading Techniques | p. 523 |
Chromaticism Based on Parallel Motion | p. 524 |
Chromaticism Based on Contrary Motion | p. 535 |
Equal Subdivisions of the Octave | p. 542 |
Points for Review | p. 551 |
Exercises | p. 552 |
Chromaticism in Larger Contexts | p. 555 |
New Modulatory Techniques | p. 555 |
Chromatic Tonal Areas | p. 564 |
Points for Review | p. 575 |
Exercises | p. 575 |
Keyboard Progressions | p. 579 |
Index of Musical Examples | p. 601 |
Subject Index | p. 607 |
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