Preface |
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ix | |
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1 | (16) |
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Rhythm, Meter, and Accent |
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1 | (4) |
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More Metrical Issues, Scales, and Key Signatures |
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5 | (4) |
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9 | (4) |
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More Intervals and Melody |
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13 | (4) |
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Harnessing Musical Time and Space |
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17 | (30) |
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Contrapuntal Motions and 1:1 Counterpoint |
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17 | (4) |
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21 | (4) |
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2:1 Coounterpoint and Triads |
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25 | (4) |
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29 | (4) |
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Figured Bass and Harmonic Analysis |
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33 | (4) |
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37 | (4) |
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Seventh Chords and Texture |
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41 | (6) |
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When Harmony, Melody, and Rhythm Converge |
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47 | (14) |
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Tones of Figuration and Harmonic Analysis |
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47 | (4) |
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51 | (6) |
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57 | (4) |
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Composition and Analysis: Using I, V, and V7 |
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61 | (12) |
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Writing and Analyzing I and V |
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61 | (4) |
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More Writing of Tonic and Dominant |
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65 | (4) |
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69 | (4) |
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Contrapuntal Expansions of Tonic and Dominant |
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73 | (14) |
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73 | (4) |
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77 | (2) |
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79 | (4) |
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83 | (4) |
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The Pre-dominant, the Phrase Model, and Additional Embellishments |
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87 | (16) |
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87 | (4) |
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91 | (4) |
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Accented Tones of Figuration |
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95 | (4) |
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99 | (4) |
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Six-Four Chords, Nondominant Seventh Chords, and Refining the Phrase Model |
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103 | (14) |
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103 | (4) |
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More Six-Four Chords and Nondominant Seventh Chords |
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107 | (4) |
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More Nondominant Seventh Chords |
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111 | (2) |
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113 | (4) |
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The Submediant and Mediant Harmonies |
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117 | (12) |
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117 | (4) |
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121 | (4) |
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More Submediant and Mediant |
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125 | (2) |
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Paradigms and Composition |
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127 | (2) |
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The Period, the Double Period, and the Sentence |
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129 | (14) |
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129 | (4) |
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133 | (4) |
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Period, Sentence, and Double Period |
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137 | (6) |
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Harmonic Sequences: Concepts and Patterns |
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143 | (16) |
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143 | (4) |
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147 | (6) |
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Triadic and Seventh-Chord Sequences |
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153 | (6) |
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Applied Chords and Tonicization |
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159 | (14) |
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Spelling, Recognizing, and Writing Applied Chords |
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159 | (4) |
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163 | (4) |
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Harmonization and Applied Chord Sequences |
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167 | (2) |
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169 | (4) |
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Modulation and Binary Form |
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173 | (14) |
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Closely Related Keys, Pivots, and Modulation |
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173 | (2) |
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175 | (2) |
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Two-Voice Modulations, Modulation |
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177 | (2) |
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Modulation and Binary Form |
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179 | (4) |
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183 | (4) |
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Expressive Chromaticism: Modal Mixture and Chromatic Modulation |
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187 | (16) |
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Melodic and Harmonic Mixture |
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187 | (4) |
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191 | (4) |
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195 | (4) |
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Prepared and Common-Tone Chromatic Modulations |
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199 | (4) |
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Two Important Chromatic Harmonies: The Neapolitan Chord and the Augmented Sixth Chord |
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203 | (24) |
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Identifying and Writing the Neapolitan Chord |
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203 | (4) |
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207 | (4) |
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Tonicization of the Neapolitan |
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211 | (4) |
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215 | (2) |
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More Augmented Sixth Chords |
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217 | (4) |
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More Writing of Augmented Sixth Chords and +6 in Modulation |
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221 | (6) |
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227 | (18) |
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227 | (4) |
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231 | (8) |
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239 | (6) |
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245 | |
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245 | |
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249 | |
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255 | |
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257 | |
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259 | |
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261 | |
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263 | |
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267 | |
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269 | |
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271 | |
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273 | |
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275 | |