Part I: Fundamentals Chapter 1: Elements of Pitch “The Keyboard and Octave Registers Notation of the Stat, “The Major Scale ‘The Majer Key Signatures Minor Seale Minor Key Signatures Scale Degree Names Intervals Perfect, Major, and Minor Intervals Augmented arié Diminished Intervals Inversion of Intervals Consonant and Dissonant Intervals chapter Rhythm Durational Symbols Beat anc Tempo Meter Division ofthe Beat Simple Time Signatures ‘Compound Time Signatures ‘Time Signatures Summarized More on Durational Symbols Elements of Rhythm Chapter 3: Introduction to Triads and Seventh Chords Triads Seventh Chords Inversions of Chords Inversion Symbols and Figured Bass. Lead Sheet Symbols Recognizing Chords in Various Textures Chapter 4: Diatonic Chords in Major and Minor Keys “The Minor Scale Diatonic Triads in Major Diatonic Triads in Minor Diatonie Seventh Chords in Major Diatonic Seventh Chores in Minor Part II: Diatonic Triads Chapter 5: Principles of Voice Leading The Melodie Line NNotating Chords Voicing a Single Trad Parallel Motion Chapter 6: Root Position Part Writing Root Postion Part Writing with Repeated Roots Root Postion Part Writing with Roots @ 4th (Sth) Apart Root Postion Part Writing with Roots @ 3rd (6th) Apart Root Postion Part Writing with Roots a 3rd(7th) Apart Instrumental Ranges and Transposttions Chapter 7: Harmonic Progression Sequences and the Circe of Fifths ‘The I and V Chords ‘The Ht Chord The VI Chora ‘The III Chord ‘The VII Chord The IV Chord ‘Common Exceptions Differences in the Minor Mode Progressions Involving Seventh Chords Harmonizing a Simple Melody Conclusion Chapter 8: Triads in First Inversion Bess Arpeggiation| Substituted First Inversion Triads Parallel Sith Chords Part Weting Fist Inversion Triads ‘Soprano-Bass Counterpoint‘Chapter 9: Triads in Second Inversion Bass Arpegglation and the Melodic Bass ‘The Cadential Six-Four ‘The Passing Shx-Four ‘The Pedal Six-Four Part Writing for Second Inversion Triads ‘Chapter 10: Cadences, Phrases, and Periods Musieal Form cadences CCadences and Harmonic Rhythm Motives and Phrases Mozart: "An de Freude* Period Forms ‘Chapter 11: Non-Chord Tones 1 ‘Classification of Non-Chora Tones Passing Tones Neighboring Tones ‘Suspensions and Retardations Figured Gass and Lead Sheet Symbols Embellshing a Simple Texture ‘Chapter 12: Non-Chord Tones 2 ‘Appoagiaturas Escape Tones ‘The Neighbor Group Anticipations ‘The Pedal Point Special Problems in the Analysis of Non-Chord Tones Part IIT: Diatonic Seventh Chords Chapter 13: The V7 Chord General Voice-Leading Considerations ‘The V7 in Root Position ‘The V7 in Three Parts (Other Resolutions of the V7 ‘The Inverted V7 Chord ‘The V6/S Chord ‘The v4/3 Chord ‘The v4/2 Chord ‘The Approach to the Seventh (Chapter 14: The 117 and VII7 Chords ‘The 117 Chord ‘The VII7 Chord in Major ‘The VII7 Chord in Minor Chapter 15: Other Diatonic Seventh Chords ‘The IV7 Chord ‘The VI7 Chord ‘The 17 Chord ‘The 1117 Chora ‘Seventh Chords and the Cirle-of-Fifths Progression Part IV: Chromaticism 1 ‘Chapter 16: Secondary Functions 1 ‘Chromaticism and Altered Chords Secondary Functions ‘Secondary Dominant Chords ‘Spelling Secondary Dominants Recognizing Secondary Dominants Secondary Dominants in Context Chapter 17: Secondary Functions 2 ‘Secondary Leading-Tone Chords Speling Secondary Leading-Tone Chords Recognizing Secondary Leading-Tone Chorés ‘Secondary Leading-Tane Chords in Context ‘Sequences Involving Secondary Functions Deceptive Resolutions of Secondary Functions ‘Other Secondary FunctionsChapter 18: Modulations Using Diatonic Common Chords Modulation and Change of Key Modulation and Tanicization Key Relationships Common-Chord Modulation Analyzing Comman-Chord Madulation Chapter 19: Some Other Modulatory Techniques Akered Chords as Common Chords ‘Sequential Modulation Modulation by Common Tone Monophonic Modulation Direct Modulation Chapter 20: Binary and Ternary Forms Formal Terminolooy Binary Forms ‘Temary Forms Rounded Binary Forms. 12-Bar Blues Other Formal Designs Part V: Chromat m2 Chapter 21: Mode Mixture Borrowed Chords in Minor ‘The Use of B-Flat 6 in Major Other Borrowed Chords in Major Modulations Involving Mode Mixture Chapter 22: The Neapolitan Chord Conventional Use of the Neapolitan Other Uses of the Neapolitan Chapter 23: Augmented Sixth Chords 1 ‘he Interval of the Augmented Sixth ‘The Italian Augmented Sixth Chord ‘The French Augmented Sixth Chord ‘The German Augmented Sixth Chord (Other Uses of te Conventional Augmentea Sixth Chords Chapter 24: Augmented Sixth Chords 2 Other Bass Positions Resolutions to Tonic Resolutions to Other Scale Degrees Resolutions to Other Chord Members Other Types of Augmented Sixth Chords Chapter 25: Enharmonic Spel Enharmonic Spelings Enharmonic Interpretation Enharmonic Modulations Using the Major-Minor Seventh Sonority Enharmonic Modulations Using the Diminished Seventh Chord Other Examples of Enharmonicism 195 and Enharmonic Modulations Chapter 26: Further Elements of the Harmonie Vocabulary ‘The Dominant with @ Substituted Sth ‘The Dominant with a Raised Sth ‘Ninth, Eleventh, and Thirteenth Chords “The Common-Tone Diminished Seventh Chord Simultaneities Colristic Chord Progressions Part VI: Late Romanticism and the Twentieth Century Chapter 27: Tonal Harmony in the Late Nineteenth Century Counterpoint ‘Treatment of Dominant Harmony Sequence Expanded Tonalty Chapter 28: An Introduction to Twentieth-Century Practices Impressionism scalesBorrowed Chords in Minor The Use of B-Flat 6 In Major Other Borrowed Chords in Major Modulations Involving Mode Mixture Chapter 22: The Neapolitan Chord Conventional Use of the Neapolitan Other Uses of the Neapolitan Chapter 23: Augmented Sixth Chords 1 The Interval of the Augmented Sixth The Italian Augmented Sixth Chord ‘The French Augmented Sixth Chord The German Augmented Sixth Chord Other Uses of the Conventional Augmented Sixth Chords Chapter 24: Augmented Sixth Chords 2 Other Bass Positions Resolutions to Tonic Resolutions to Other Scale Degrees Resolutions to Other Chord Members Other Types of Augmented Sixth Chords Chapter 25: Enharmonic Spellings and Enharmonic Modulations Enharmonic Spellings Enharmonic Interpretation Enharmonic Modulations Using the Major-Minor Seventh Sonority Enharmonic Modulations Using the Diminished Seventh Chord Other Examples of Enharmonicism Chapter 26: Further Elements of the Harmonic Vocabulary ‘The Dominant with a Substituted Sth ‘The Dominant with a Raised Sth Ninth, Eleventh, and Thirteenth Chords ‘The Common-Tane Diminished Seventh Chord Simultaneities Coloristic Chord Progressions Part VI: Late Romanticism and the Twentieth Century Chapter 27: Tonal Harmony in the Late Nineteenth Century Counterpoint Treatment of Dominant Harmony Sequence Expanded Tonality, Chapter 28: An Introduction to Twentleth-Century Practices Impressionism Scales Chord Structure Parallelism Pandiatonicism Rhythm and Meter Set Theory The Twelve-Tone Technique Tonal Serialization Aleatory of Chance Music ‘Texture and Expanded Instrumental Resources Electronic Music, ‘Summary and Forward Look Appendix A: Instrumental Ranges and Transpositions. Appendix B: Answers to Self-Tests Appendix C: Index of Music Examples Name Index Subject Index