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Musical Space and Time | |
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Harnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint | |
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Musical Density: Triads, Seventh Chords and Texture | |
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When Harmony, Melody, and Rhythm Converge | |
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Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading | |
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The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V7 | |
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Contrapuntal Expansions of Tonic and DominantSix-Three Chords | |
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More Contrapuntal Expansions: Inversions of V | |
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And Leading-Tone Seventh Chords | |
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The Pre-Dominant Function and the Phrase Model | |
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Accented and Chromatic Dissonances | |
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Six-Four Chords, the Subdominant, and Summary of Contrapuntal Expansions | |
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The Pre-Dominant Refines the Phrase Model | |
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The SubmediantA New Diatonic Harmony, and Further Extensions of the Phrase Model | |
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The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships | |
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The Period | |
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Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods | |
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Harmonic Sequences | |
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Applied Chords | |
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Tonicization and Modulation | |
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Binary Form and Variations | |
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Modal Mixture | |
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Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German I Lied/i | |
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The Neapolitan Chord (b II) | |
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The Augmented Sixth Chord | |
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Ternary Form | |
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Rondo | |
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Sonata Form | |
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New Harmonic Tendencies | |
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The Rise of Symmetrical Harmony in Tonal Music | |
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Melodic and Harmonic Symmetry Combine: Chromatic Sequences | |
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At Tonality's Edge | |
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Fundamentalsa | |
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The Pitch Realmb | |
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Pulse, Rhythm, and Meterc | |
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Intervalsd | |
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Triads, Inversions, Figured Bass, and Harmonic Analysise | |
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Seventh Chords and Harmonic Analysis | |
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Invertible Counterpoint, Compound Melody, and Implied Harmonies | |
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The Motive | |
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Additional Harmonic Sequence Topics | |
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Selected Answers to Textbook Exercises | |