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| The Foundation Of Tonal Music | |
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| Musical Space And Time | |
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| Tonality in Context: Bach's Violin Partita no. 3, Prelude | |
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| Specifics of the Pitch Realm | |
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| Pitches and Pitch Classes | |
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| Scales | |
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| Keys | |
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| Intervals | |
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| Enharmonic Intervals | |
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| Consonant and Dissonant Intervals | |
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| The Metrical Realm | |
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| Meter Signature | |
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| Asymmetrical Meters | |
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| Clarifying Meter | |
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| More Rhythmic Procedures | |
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| Accent in Music | |
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| Temporal Accents | |
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| Nontemporal Accents | |
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| Metrical Disturbance | |
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| Syncopation | |
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| Hemiola | |
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| Harnessing Space And Time: Introduction To Melody And Two-Voice Counterpoint | |
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| Melody: Characteristics and Writing | |
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| Controlling Consonance and Dissonance: Introduction to Two-Voice Counterpoint | |
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| First-Species Counterpoint | |
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| Contrapuntal Motions | |
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| Beginning and Ending First-Species Counterpoint | |
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| Rules and Guidelines for First-Species (1:1) Counterpoint | |
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| Second-Species Counterpoint | |
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| Weak-Beat Consonance | |
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| Weak-Beat Dissonance | |
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| More on Perfect Consonances | |
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| Beginning and Ending Second-Species Counterpoint | |
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| Rules and Guidelines for Second-Species Counterpoint | |
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| Musical Density: Triads, Seventh Chords, And Texture | |
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| Adding Voices: Triads and Seventh Chords | |
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| Triads | |
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| Figured Bass | |
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| Triads and the Scale: Harmonic Analysis | |
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| Harmony and the Keyboard | |
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| Seventh Chords | |
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| Musical Texture | |
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| Analytical Method | |
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| Merging Melody And Harmony | |
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| When Harmony, Melody, And Rhythm Converge | |
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| Tonal Hierarchy in Music | |
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| Embellishing Tones | |
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| The Importance of Context in Analysis | |
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| Analytical Interlude | |
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| Melodic Fluency | |
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| Melody as Harmony | |
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| Tonic And Dominant As Tonal Pillars And Introduction To Voice Leading | |
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| Characteristics and Effect of V and I | |
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| The Cadence | |
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| Introduction to Voice Leading | |
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| Texture and Register | |
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| Three Techniques to Create Voice Independence within a Four-Voice Texture | |
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| Smoothness | |
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| Registral Independence | |
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| Contrapuntal Independence | |
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| Creating the Best Sound: Incomplete and Complete Chords, Doubling, and Spacing | |
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| Omitted Chord Tones | |
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| Doubled Chord Tones | |
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| Spacing and Voicing | |
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| Summary of Voice-Leading Rules and Guidelines | |
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| The Impact Of Melody, Rhythm, And Meter On Harmony; Introduction To V7 | |
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| The Interaction of Harmony, Melody, Meter, and Rhythm: Embellishment and Reduction | |
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| Embellishment | |
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| Reduction | |
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| The Dominant Seventh and Chordal Dissonance | |
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| Derivation and New Melodic Possibilities | |
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| Part Writing with the Dominant Seventh Chords | |
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| An Analytical Interlude | |
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| Harmonizing Florid Melodies | |
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| Summary | |
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| Contrapuntal Expansions Of Tonic And Dominant: Six-Three Chords | |
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| Chordal Leaps in the Bass: I6 and V6 | |
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| Neighbor Tones in the Bass (V6) | |
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| Second Level Analysis | |
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| Passing Tones in the Bass: viio6 | |
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| Tonic Expansion with an Arpeggiating Bass: IV6 | |
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| Dominant Expansion with Passing Tones: IV6 | |
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| Combining First-Inversion Chords | |
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| Summary | |
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| More Contrapuntal Expansions: Inversions Of V7, Introduction To Leading Tone Seventh Chords, And Reduction And Elaboration | |
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| V7 and Its Inversions | |
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| V6/5 | |
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| V4/3 | |
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| V4/2 | |
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| Voice-Leading Inversions of V7 | |
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| Combining Inversions of V7 | |
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| Compositional Impact of Contrapuntal Chords | |
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| Leading Tone Seventh Chords: viio7 and viio7 | |
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| Voice Leading for viio7 | |
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| viio7 | |
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| Summary of Contrapuntal Expansions | |
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| Reduction and Elaboration: Compositional and Performance Implications | |
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| Reduction | |
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| Elaboration | |
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| Summary of Part 2 | |
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| A New Harmonic Function, The Phrase Model, And Additional Melodic And Harmonic Embellishments | |
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| The Pre-Dominant Function And The Phrase Model | |
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| The Pre-Dominant Function | |
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| The Subdominant (IV in Major, iv in Minor) | |
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| The Supertonic (ii in Major, iio in Minor) | |
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| Pre-Dominants and the Stepwise Ascending Bass | |
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| Part Writing for Pre-Dominants | |
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| Extending the Pre-Dominant | |
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| Introduction to the Phrase Model | |
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| Analytical Interlude | |
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| Accented And Chromatic Embellishing Tones | |
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| The Accented Passing Tone (APT) | |
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| The Chromatic Passing Tone (CPT) | |
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| The Accented Neighbor Tone (AN) | |
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| The Chromatic Neighbor Tone (CN) | |
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| The Appoggiatura (APP) | |
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| The Suspension (S) | |
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| Labeling Suspensions | |
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| Writing Suspensions | |
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| Additional Suspension Techniques | |
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| The Anticipation (ANT) | |
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| The Pedal (PED) | |
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| Summary of the Most Common Embellishing Tones | |
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| Six-Four Chords, Revisiting The Subdominant, And Summary Of Contrapuntal Expansions | |
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| Unaccented Six-Four Chords | |
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| Pedal | |
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| Passing | |
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| Arpeggiating | |
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| Accented Six-Four Chords | |
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| Cadential | |
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| Additional Uses of Cadential Six-Four Chord | |
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| As Part of Half Cadences and Authentic Cadences | |
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| Preceding V7 | |
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| Within a Phrase | |
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| Evaded Cadences: Elision and Extension | |
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| Triple Meter | |
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| Writing Six-Four Chords | |
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| Revisiting the Subdominant | |
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| Summary of Harmonic Paradigms | |
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| Harmonizing Florid Melodies | |
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| The Pre-Dominant Refines The Phrase Model | |
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| Nondominant Seventh Chords: IV7 (IV6/5) and ii7 (ii6/5) | |
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| Analyzing Nondominant Seventh Chords | |
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| Embedding the Phrase Model | |
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| Contrapuntal Cadences | |
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| Expanding the Pre-Dominant | |
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| Passing Chord between ii and ii6 (or between ii6 and ii) | |
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| Passing Chord between IV and IV6 (or between IV6 and IV) | |
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| Passing Chord Moving from IV6 (IV6/5) to ii6/5 | |
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| Restate Tonic Material Up a Step | |
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| Subphrases | |
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| Composite Phrases | |
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| Summary of Part 3 | |
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| New Chords And New Forms | |
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| The Submediant: A New Diatonic Harmony, And Further Extensions Of The Phrase Model | |
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| The Submediant | |
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| The Submediant as Bridge in the Descending-Thirds Progression | |
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| The Submediant in the Descending-Circle-of-Fifths Progressions | |
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| The Submediant as Tonic Substitute in Ascending-Seconds Progressions | |
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| Voice Leading for the Submediant | |
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| The Descending-Thirds Progression, I-vi-IV | |
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| The Descending-Fifths Progression, I-vi-ii (or I-vi-ii6) | |
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| The Ascending-Seconds Progression, V-vi | |
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| Contextual Analysis | |
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| Tonic and Dominant Embellish the Submediant | |
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| Apparent Submediants | |
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| The Step Descent in the Bass | |
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| The Mediant, The Back-Relating Dominant, And A Synthesis Of Diatonic Harmonic Relationships | |
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| The Mediant (iii in Major; III in Minor) | |
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| The Mediant in Arpeggiations | |
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| A Special Case: Preparing the III Chord in Minor | |
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| Voice Leading for the Mediant | |
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| More Contextual Analysis: The Back-Relating Dominant and Synthesis: Root Motion Principles | |
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| The Back-Relating Dominant | |
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| Synthesis: Root Motion Principles | |
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| Compositional Application | |
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| The Period | |
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| Aspects of Melody and Harmony in Periods | |
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| Representing Form: The Formal Diagram | |
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| Sample Analysis of Periods and Some Analytical Guidelines | |
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| Summary for Analyzing Periods | |
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| Composing Periods | |
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| Other Small Musical Structures: Sentences, Double Periods, And Modified Periods | |
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| The Sentence: An Alternative Musical Structure | |
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| The Double Period | |
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| Modified Periods | |
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| Extensions | |
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| Phrase Group | |
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| Asymmetrical Periods | |
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| Harmonic Sequences | |
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| Components and Types of Sequences | |
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| The Descending-Second (D2) Sequence | |
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| The Descending-Second Sequence in Inversion | |
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| The Descending-Third (D3) Sequence | |
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| The Descending-Third Sequence in Inversion | |
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| The Ascending-Second (A2) Sequence | |
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| Another Ascending-Second Sequence: A2 (-3/+4) | |
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| Sequences with Diatonic Seventh Chords | |
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| Sequences with Inversions of Seventh Chords | |
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| Writing Sequences | |
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| Summary of Diatonic Sequences | |
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| Summary of Part 4 | |
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| Functional Chromaticism | |
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| Applied Chords | |
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| Applied Dominant Chords | |
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| Applied Chords in Inversion | |
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| Tonicized Half Cadences | |
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| Recognizing Applied Chords | |
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| Voice Leading for Applied Chords | |
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| Applied Leading-Tone Chords | |
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| Incorporating Applied Chords within Phrases | |
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| An Example Composition | |
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| |
| Sequences with Applied Chords | |
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| The D2 (-5/+4) Sequence | |
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| The D3 (-4/+2) Sequence | |
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| The A2 (-3/+4) Applied-Chord Sequence | |
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| Writing Applied-Chord Sequences | |
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| Summary of Diatonic and Applied-Chord Sequences | |
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| Tonicization And Modulation | |
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| |
| Extended Tonicization | |
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| Modulation | |
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| Closely Related Keys | |
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| Analyzing Modulations | |
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| Writing Modulations | |
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| Modulation in the Larger Context | |
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| The Sequence as a Tool in Modulation | |
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| Binary Form And Variations | |
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| Binary Form | |
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| |
| Simple Sectional Binary | |
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| Simple Continuous Binary | |
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| |
| Rounded Sectional Binary | |
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| Rounded Continuous Binary | |
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| Balanced Binary Form | |
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| |
| Summary of Binary Form Types | |
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| Variation Form | |
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| Continuous Variations | |
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| Sectional Variations | |
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| Summary of Part 5 | |
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| |
| Answers to Exercise 20.1 | |
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| Expressive Chromaticism | |
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| Modal Mixture | |
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| Altered Pre-Dominant Harmonies: iio and iv | |
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| Application: Musical Effects of Melodic Mixture | |
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| |
| Altered Submediant Harmony: bVI | |
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| Altered Tonic Harmony: i | |
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| Altered Mediant Harmony: bIII | |
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| Voice Leading for Mixture Harmonies | |
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| |
| Chromatic Stepwise Bass Descents | |
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| |
| Plagal Motions | |
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| |
| Modal Mixture, Applied Chords, and Other Chromatic Harmonies | |
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| |
| Summary | |
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| |
| |
| Expansion Of Modal Mixture Harmonies: Chromatic Modulation And The German Lied | |
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| Chromatic Pivot-Chord Modulations | |
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| |
| An Analytical Interlude: Schubert's Waltz in F major | |
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| Writing Chromatic Modulations | |
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| Unprepared and Common-Tone Modulations | |
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| Analytical Challenges | |
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| |
| Modal Mixture and the German Lied | |
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| An Analytical Interlude: Schumann's "Waldesgesprach" | |
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| |
| Analytical Payoff: The Dramatic Role of bVI | |
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| The Neapolitan Chord (Bii): Characteristics, Effects, And Behavior | |
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| Writing the Neapolitan Chord | |
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| Expanding bII | |
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| The Neapolitan in Sequences | |
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| |
| The Neapolitan as a Pivot Chord | |
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| The Augmented Sixth Chord: Characteristics, Derivation, And Behavior | |
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| Types of Augmented Sixth Chords | |
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| Writing Augmented Sixth Chords | |
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| bVI and the Ger6/5 Chord | |
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| Augmented Sixth Chords as Part of PD Expansions | |
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| The Augmented Sixth Chord and Modulation: Reinforcement | |
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| The Augmented Sixth Chord as Pivot in Modulation | |
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| |
| Summary of Part 6 | |
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| Large Forms: Ternary, Rondo, Sonata | |
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| Ternary Form | |
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| Characteristics | |
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| |
| Transitions and Retransitions | |
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| |
| Da Capo Form: Compound Ternary Form | |
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| Da Capo Aria | |
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| Minuet-Trio Form | |
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| Ternary Form in the Nineteenth Century | |
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| Rondo | |
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| Context | |
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| The Classical Rondo | |
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| Five-Part Rondo | |
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| Coda, Transitions, and Retransitions | |
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| Compound Rondo Form | |
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| |
| Seven-Part Rondo | |
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| |
| Distinguishing Seven-Part Rondo Form from Ternary Form | |
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| |
| Missing Double Bars and Repeats | |
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| Sonata Form | |
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| |
| Historical Context and Tonal Background | |
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| |
| The Binary Model for Sonata Form | |
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| |
| Analytical Prelude: Beethoven, Piano Sonata in G minor, op. 49, no. 1 | |
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| |
| Transition | |
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| Closing Section | |
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| Development and Retransition | |
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| Recapitulation and Coda | |
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| |
| Additional Characteristics and Elements of Sonata Form | |
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| |
| Monothematic Sonata Form | |
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| |
| The Slow Introduction | |
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| |
| Harmonic Anomalies | |
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| |
| Other Tonal Strategies | |
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| |
| Three-Key Exposition | |
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| |
| Extended Third-Related STAs | |
| |
| |
| Sonata Rondo | |
| |
| |
| Analytical Synthesis: Sonatas of Haydn and Mozart | |
| |
| |
| Haydn: Piano Sonata no. 48 in C major, Hob. XVI.35, Allegro con brio | |
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| |
| Exposition | |
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| |
| Development | |
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| |
| Recapitulation | |
| |
| |
| Mozart, Piano Sonata in Bb Major, K. 333, Allegro | |
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| |
| Exposition | |
| |
| |
| Development | |
| |
| |
| Summary of Part 7 | |
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| |
| |
| Introduction To Nineteenth-Century Harmony: The Shift From Asymmetry To Symmetry | |
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| |
| |
| New Harmonic Tendencies | |
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| |
| Tonal Ambiguity: The Plagal Relation and Reciprocal Process | |
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| |
| Tonal Ambiguity: Semitonal Voice Leading | |
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| |
| Semitonal Voice Leading and Remote Keys | |
| |
| |
| Analytical Interlude | |
| |
| |
| The Diminished Seventh Chord and Enharmonic Modulation | |
| |
| |
| Analysis | |
| |
| |
| Analytical Interlude | |
| |
| |
| Tonal Clarity Postponed: Off-Tonic Beginning | |
| |
| |
| Double Tonality | |
| |
| |
| |
| The Rise Of Symmetrical Harmony In Tonal Music | |
| |
| |
| A Paradox: "Balanced" Music Based on Asymmetry | |
| |
| |
| Symmetry and Tonal Ambiguity | |
| |
| |
| The Augmented Triad | |
| |
| |
| Altered Dominant Seventh Chords | |
| |
| |
| The Common-Tone Diminished Seventh Chord | |
| |
| |
| Common-Tone Augmented Sixth Chords | |
| |
| |
| Analytical Interlude | |
| |
| |
| |
| Melodic And Harmonic Symmetry Combine: Chromatic Sequences | |
| |
| |
| Distinctions between Diatonic and Chromatic Sequences | |
| |
| |
| Chromatic Sequence Types | |
| |
| |
| The DM2 (-4/+3) Sequence | |
| |
| |
| The Chromatic Forms of the D2 (-5/+4) Sequence | |
| |
| |
| The Chromatic Forms of the A2 (-3/+4) Sequence | |
| |
| |
| Other Chromatic Step-Descent Basses | |
| |
| |
| Six-Three Chords | |
| |
| |
| Diminished Seventh Chords | |
| |
| |
| Augmented Sixth Chords | |
| |
| |
| Writing Chromatic Sequences | |
| |
| |
| Chromatic Contrary Motion | |
| |
| |
| The Omnibus | |
| |
| |
| A Final Equal Division of the Octave | |
| |
| |
| |
| At Tonality's Edge | |
| |
| |
| Sequential Progressions | |
| |
| |
| Nonsequential Progressions and Equal Divisions of the Octave | |
| |
| |
| The Intervallic Cell | |
| |
| |
| Analytical Interlude: | |
| |
| |
| Chopin, Prelude, op. 28, no. 2 | |
| |
| |
| Wagner, Tristan und Isolde, "Prelude" | |
| |
| |
| Scriabin, Prelude, op. 39, no. 2 | |
| |
| |
| Intervallic Properties of Key Sonorities | |
| |
| |
| Compositional Processes: | |
| |
| |
| A Traditional View | |
| |
| |
| A Radical View | |
| |
| |
| Summary of Part 8 | |
| |
| |
| Appendices | |
| |
| |
| |
| Fundamentals | |
| |
| |
| |
| The Pitch Realm | |
| |
| |
| 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 | |
| |
| |
| |
| Pulse, Rhythm, and Meter | |
| |
| |
| Rhythm and Durational Symbols | |
| |
| |
| Dots and Ties | |
| |
| |
| Meter | |
| |
| |
| Beat Division and Simple and Compound Meters | |
| |
| |
| The Meter Signature | |
| |
| |
| |
| Intervals | |
| |
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| Naming Generic Intervals | |
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| Melodic and Harmonic Intervals; Simple and Compound | |
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| Tips for Identifying Generic Intervals | |
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| Naming Specific Intervals | |
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| Transforming Intervals: Augmented and Diminished Intervals | |
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| Interval Inversion | |
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| Generating All Intervals | |
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| Method 1 | |
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| Method 2 | |
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| Triads, Inversions, Figured Bass, and Harmonic Analysis | |
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| Triads | |
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| Voicing Triads: Spacing and Doubling | |
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| Triad Inversion | |
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| Figured Bass | |
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| Analyzing and Composing Using Figured Bass | |
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| Additional Figured Bass Conventions: Abbreviations and Chromaticism | |
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| Triads and the Scale: Harmonic Analysis | |
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| Roman Numerals | |
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| Introduction to Harmonic Analysis | |
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| Seventh Chords and Harmonic Analysis | |
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| Definitions and Type | |
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| Musical Characteristics of Seventh Chords | |
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| Inverted Seventh Chords | |
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| Analytical Tips | |
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| Seventh Chords and Harmonic Analysis | |
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| Invertible Counterpoint, Compound Melody, And Implied Harmonies | |
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| Invertible Counterpoint | |
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| Definitions and Effects | |
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| Invertible Counterpoint below the Music's Surface | |
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| Harmonic Implications of Single Melodic Lines: Compound Melody | |
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| Definitions | |
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| Implied Harmonies | |
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| The Motive | |
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| Introduction | |
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| Motive Types | |
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| Motivic Repetition | |
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| Strict Repetition | |
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| Modified Repetition | |
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| Additional Pitch Transformations | |
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| Rhythmic Transformations | |
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| Developmental Repetitions | |
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| Inter-Section and Intermovement Motivic Repetitions | |
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| Single-Interval Motives | |
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| Hidden Motivic Repetitions | |
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| Depth and Surface: Motivic Parallelism | |
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| Additional Harmonic Sequence Topics | |
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| Compound Melody and Implied Seventh Chord Sequences | |
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| Parallel First-Inversion Triads | |
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| Sequences versus Sequential Progressions | |
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| Composing Sequences within the Phrase Model | |
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| Abbreviations And Acronyms | |
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| Selected Answers To Textbook Exercises | |
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| Index Of Terms And Concepts | |
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| Index Of Musical Examples And Exercises | |