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| Preface | |
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| A Message to the Student: Why Do We Study Music Theory? | |
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| Introduction: The Fundamentals of Music | |
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| Pitch: Notation and Intervals | |
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| The Notation of Pitch | |
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| Intervals | |
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| Consonant and Dissonant Intervals | |
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| Rhythm and Meter | |
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| Durational Symbols | |
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| Pulse, Beat, and Meter | |
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| Tempo | |
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| Simple and Compound Meters | |
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| The Notation of Meter | |
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| Metric Accent | |
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| Choosing a Meter to Notate a Melody | |
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| Asymmetrical Meters | |
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| Irregular Divisions of the Beat | |
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| Irregular Rhythmic and Metric Relationships | |
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| Some Notes on the Correct Notation of Rhythm | |
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| Tonality: Scales and Keys | |
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| Modes and Scales | |
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| Key Signatures | |
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| Other Modes and Scales | |
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| The Rudiments of Harmony I: Triads and Seventh Chords | |
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| Chords | |
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| Triads | |
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| Seventh Chords | |
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| The Rudiments of Harmony II: Labeling Chords. Musical Texture | |
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| Harmonic Function, Roman Numerals | |
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| Figured Bass | |
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| Musical Texture | |
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| Introduction to Species Counterpoint | |
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| The Melodic Line in Species Counterpoint | |
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| General Guidelines for Two-part Counterpoint | |
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| First Species (1:1) | |
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| Second Species (2:1) | |
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| Third Species (4:1) | |
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| Fourth Species (Syncopated) | |
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| Diatonic Harmony | |
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| The Connection of Chords | |
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| Harmonic Progression | |
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| Notating, Voicing, and Spacing Chords | |
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| Chord Connection: the Principles of Part-writing | |
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| Voice-leading Guidelines for the Three Basic Types of Progressions | |
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| Melodic Style | |
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| Voice Independence | |
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| Why All These Rules? | |
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| The Tonic and Dominant Triads in Root Position | |
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| The Tonic Triad | |
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| The Dominant Triad | |
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| The I-V-I Progression | |
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| Characteristic Soprano-Bass Patterns | |
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| The I-V-I Progression as a Form-generating Structure | |
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| Pitch Patterns | |
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| Harmonic Function; the Subdominant Triad in Root Position | |
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| The Basic Harmonic Functions | |
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| The Subdominant Triad | |
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| Voice-Leading Guidelines | |
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| Characteristic Soprano-Bass Patterns | |
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| A Model to Elaborate the Fundamental Progression | |
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| Pitch Patterns | |
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| Triads in First Inversion | |
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| The Triad in First Inversion: Uses and Function | |
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| The Neighbor V6 | |
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| Elaborating the I-V-I Progression | |
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| Voice-Leading Guidelines | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| The Supertonic: Melody Harmonization | |
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| The Supertonic in Root Position | |
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| The Supertonic in First Inversion | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Harmonizing a Melody | |
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| Pitch Patterns | |
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| Nonchord Tones | |
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| The Passing Tone | |
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| The Neighbor Note | |
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| The Anticipation | |
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| Incomplete Neighbors | |
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| Voice-Leading Guidelines | |
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| Suspensions | |
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| Pedal Point | |
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| 6/4 Chords | |
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| Consonant 6/4 Chords: The Arpeggiated 6/4 | |
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| Dissonant 6/4 Chords | |
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| The Neighbor 6/4 | |
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| The Passing 6/4 | |
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| The Cadential 6/4 | |
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| Voice-Leading Guidelines | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| The Dominant Seventh and Its Inversions | |
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| V7 in root position | |
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| Inversions of the Dominant Seventh | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| The Leading-Tone Triad | |
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| Doubling and Voice Leading | |
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| The Passing viio6 | |
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| viio6 as a Dominant Substitute | |
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| The Leading-Tone Cadence | |
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| Voice-Leading Guidelines | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| Cadences | |
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| Authentic Cadences | |
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| The Half Cadence | |
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| The Plagal Cadence | |
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| The Deceptive Cadence | |
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| Cadences: Summary and Voice Leading | |
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| Pitch Patterns | |
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| Melodic Organization I: Phrase Structure | |
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| Motive | |
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| Phrase | |
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| Period Structure | |
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| Form Diagrams | |
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| More on Period Structure | |
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| Phrase Group | |
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| Melodic Organization II: Thematic | |
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| Development; Phrase Extension | |
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| Melodic Developmental Techniques | |
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| Phrase Extension | |
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| Harmonic Rhythm; Metric Reduction | |
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| Harmonic Rhythm | |
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| Metric Reduction | |
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| Metric Reduction and Performance | |
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| Compound Melody | |
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| Writing Your Own Progresisons | |
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| The Mediant, Submediant, and Subtonic Triads | |
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| The Mediant and Submediant Triads as Prolongations of the Tonic | |
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| Other Uses of the Mediant and Submediant | |
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| Voice-Leading Guidelines | |
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| The Subtonic | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Harmonizing a Melody with Keyboard Figuration | |
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| Pitch Patterns | |
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| Other Diatonic Seventh Chords | |
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| General Doubling and Voice-Leading Guidelines | |
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| The Leading-Tone Sevenths | |
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| The Half-Diminished Seventh | |
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| The Fully-Diminished Seventh | |
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| The Supertonic Seventh | |
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| The Subdominant Seventh | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| Harmonic Sequences | |
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| The Descending Circle-of-5ths Sequence | |
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| The Ascending Circle-of-5ths Sequence | |
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| Sequences by Descending 3rds | |
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| Sequences by Descending and Ascending Steps | |
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| A Summary of Harmonic Sequences: Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| Chromatic Harmony and Form | |
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| Secondary Dominants I | |
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| Chromatic Harmony | |
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| Tonicization: Secondary Dominants | |
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| Spelling Secondary Dominants | |
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| V7 of V | |
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| Voice-Leading Guidelines | |
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| V7 of IV (iv) | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Pitch Patterns | |
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| Secondary Dominants II | |
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| V7 of ii | |
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| V7 of vi (VI) | |
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| V7 of iii (III) | |
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| V7 of VII | |
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| Characteristic Soprano-Bass Patterns | |
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| Elaborating the I-V-I Progression | |
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| Deceptive Resolutions of Secondary Dominants | |
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| Sequences with Secondary Dominants | |
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| Secondary Key Areas | |
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| Pitch Patterns | |
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| Secondary Leading-Tone Chords | |
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| Secondary Leading-tone Seventh Chords | |
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| Secondary viio7 Chords in Inversion | |
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| The viio7 Over a Pedal Point | |
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| Elaborating the I-V-I Progression | |
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| A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21 | |
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| Secondary Functions in Context: Two Songs by Mozart | |
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| Pitch Patterns | |
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| Modulation to Closely-Related Keys | |
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| Key Relationships: Closely-Related Keys | |
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| Diatonic Pivot-Chord Modulation | |
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| Modulation to V | |
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| Modulation to the Relative Major and Minor Keys | |
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| Writing Pivot Chord Modulations | |
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| Chromatic Modulation: Chromatic Pivot Chords | |
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| Writing Chromatic Modulations | |
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| Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods | |
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| Harmonizing Modulating Melodies | |
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| Pitch Patterns | |
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| Small Forms: Binary and Ternary; Variation Forms | |
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| The Binary Principle | |
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| Binary Tonal Types | |
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| Binary Formal Designs | |
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| The Ternary Principle | |
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| Variation Forms | |
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| Continuous Variations | |
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| Sectional Variations | |
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| Contrapuntal Genres | |
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| The Two-Voice Invention | |
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| Bach: Invention no. 3, in DM | |
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| The Fugue | |
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| Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I | |
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| Some Additional Fugal Techniques | |
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| The Fugato | |
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| Modal Mixture | |
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| Borrowing Chords from the Minor Mode in a Major Key | |
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| Borrowing Chords from the Major Mode in a Minor Key | |
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| Change of mode | |
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| Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression | |
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| Pitch Patterns | |
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| The Neapolitan Chord | |
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| The Neapolitan Sixth | |
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| Tonicization of the Neapolitan | |
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| The Neapolitan in Root Position | |
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| Tritone Substitution: The Neapolitan as a Substitute for V7 | |
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| Pitch Patterns | |
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| Augmented Sixth Chords | |
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| General Features and Types of +6 Chords | |
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| The Italian +6 | |
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| The German +6 | |
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| The French +6 | |
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| Other Types of +6 Chords | |
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| Summary | |
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| Tonal Relationship Between the Neapolitan and the +6 Chords | |
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| Pitch Patterns | |
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| Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I | |
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| Chromatic Pivot Chords | |
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| Writing Chromatic Pivot Chord Modulations | |
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| Modulation by Enharmonic Reinterpretation of the Gr +6 | |
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| Writing Modulations with +6 Chords | |
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| Modulation by enharmonic reinterpretation of viio7 | |
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| Writing Modulation with viio7 Chords | |
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| Pitch Patterns | |
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| Modulation to Distantly-Related Keys II; Linear Chromaticism I | |
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| Chromatic Third Relationships | |
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| Triads Related by Chromatic Third | |
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| Keys related by Chromatic Third: Common Tone Modulation | |
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| Linear Chromaticism I: Linear Chromatic Chords | |
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| Altered triads | |
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| Augmented Sixth Chords with Dominant and Embellishing; Functions | |
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| The Common-Tone Diminished Seventh Chord | |
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| Pitch Patterns | |
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| Introduction to Large Forms | |
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| Sonata Form | |
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| Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25) | |
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| Guided Studies of Sonata Form | |
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| The Rondo | |
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| A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21) | |
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| Guided Studies of Rondo Forms | |
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| Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II | |
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| Expanding Chordal Sonorities: Extended Tertian Chords | |
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| Linear Chromaticism II: Linear Expansions of Tonality | |
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| Appoggiatura Chords | |
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| Chromatic Sequences Revisited | |
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| Nonsequential Linear Processes | |
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| Pitch Patterns | |
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| The German Romantic Lied: Chromatic Harmony in Context | |
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| The German Romantic Lied | |
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| Schubert, Erlkonig | |
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| Schumann, "Widmung" | |
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| Modulation by Enharmonic Reinterpretation of V+ | |
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| Wolf, "Das Verlassene Magdlein" | |
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| Pitch Patterns | |
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| Toward (and Beyond) the Limits of Functional Tonality | |
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| Tonal Ambiguity and Implied Tonality | |
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| Equal Divisions of the Octave | |
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| Parsimonious Voice Leading: The PLR Model | |
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| Beyond the Confines of Functional Tonality | |
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| Pitch Patterns | |
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| Appendix Transposing Instruments | |
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| Subject Index | |
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| Musical Example Index | |