| |
| |
| Preface | |
| |
| |
| |
| The Foundation Of Tonal Music | |
| |
| |
| |
| The Pitch Realm: Tonality, Notation, and Scales | |
| |
| |
| Charting Musical Sound: Staff and Clef Pitch and Pitch Class | |
| |
| |
| The Division of Musical Space: Intervals Accidentals Scales | |
| |
| |
| Enharmonicism Scale Degree Numbers and Names Specific Scale Types | |
| |
| |
| Major and Minor Building Scales in the Major Mode Key Signatures and the Circle of Fifths Building Scales in the Minor Mode Key Signatures in Minor Relative Major and Minor Keys Analytical Application | |
| |
| |
| Tonality and Hierarchy in Bach's Violin Partita No. 3, Prelude | |
| |
| |
| |
| Pulse, Rhythm, and Meter | |
| |
| |
| Rhythm and Durational Symbols Meter | |
| |
| |
| Accent in Music Temporal | |
| |
| |
| Accents Nontemporal | |
| |
| |
| Accents Beat Division and Simple and Compound Meters | |
| |
| |
| The Meter Signature Asymmetrical | |
| |
| |
| Meters Clarifying | |
| |
| |
| Meter More Rhythmic Procedures | |
| |
| |
| Metrical Disturbance | |
| |
| |
| |
| Intervals and Melody | |
| |
| |
| Naming Generic Intervals Tips for Identifying | |
| |
| |
| Generic Intervals Naming Specific Intervals Transforming Intervals: Augmented and Diminished Intervals | |
| |
| |
| Interval Inversion Generating | |
| |
| |
| All Intervals Enharmonic | |
| |
| |
| Intervals Consonant and Dissonant | |
| |
| |
| Intervals Melody: Characteristics, Writing, and Listening Melodic Dictation | |
| |
| |
| |
| Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint | |
| |
| |
| First-Species Counterpoint | |
| |
| |
| Contrapuntal Motions Rules and Guidelines for First-Species (1:1) Counterpoint | |
| |
| |
| Second Species Counterpoint Weak-Beat Consonance Weak-Beat Dissonance | |
| |
| |
| Beginning and Ending Second-Species Counterpoint | |
| |
| |
| Rules and Guidelines for Second-Species Counterpoint | |
| |
| |
| Hearing Two-Voice Counterpoint | |
| |
| |
| Review and Synthesis of Terms and Concepts | |
| |
| |
| |
| Triads, Inversions, Figured Bass, and Harmonic Analysis | |
| |
| |
| Triads Voicing Triads: Spacing and Doubling Triad Inversion | |
| |
| |
| Figured Bass Analyzing and Composing | |
| |
| |
| Using Figured Bass Triads and the Scale: Harmonic Analysis | |
| |
| |
| Roman Numerals Introduction to Harmonic Analysis | |
| |
| |
| Harmony and the Keyboard | |
| |
| |
| |
| Seventh Chords, Musical Texture, and Harmonic Analysis | |
| |
| |
| Musical Characteristics of Seventh Chords | |
| |
| |
| Inverted Seventh Chords Analytical tips Seventh Chords and Harmonic Analysis | |
| |
| |
| Lead-Sheet Notation Musical Texture | |
| |
| |
| Summary of Part 1 | |
| |
| |
| |
| Merging Melody And Harmony | |
| |
| |
| |
| Hierarchy in Music: Consonance, Unaccented Dissonance, and Melodic Fluency | |
| |
| |
| Consonance and Dissonance | |
| |
| |
| The Importance of Textural Analysis | |
| |
| |
| Sample Analyses Melodic Fluency | |
| |
| |
| |
| Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading | |
| |
| |
| The Cadence Introduction to Voice | |
| |
| |
| Leading Texture and Register | |
| |
| |
| Three Techniques to Create Voice | |
| |
| |
| Independence Within a Four-Voice Texture Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing | |
| |
| |
| Summary of Voice-Leading | |
| |
| |
| Rules and Guidelines | |
| |
| |
| |
| The Impact of Melody, Rhythm, and Meter on Harmony, and Introduction to V7 | |
| |
| |
| The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction Embellishment and Reduction | |
| |
| |
| The Dominant Seventh and Chordal Dissonance | |
| |
| |
| Part Writing with the Dominant Seventh Chord | |
| |
| |
| An Analytical In | |