| Contents |
Part one. Fundamentals. Notation of pitch and rhythm. Identifying note names ; Writing notes ; Pitch and keyboard ; Enharmonic notes ; Barlines ; Writing time signatures ; Beams ; Writing rhythms -- Scales. Writing major scales ; Writing minor scales ; Identifying major keys from scale degrees ; Identifying minor keys from scale degrees ; Writing major scale degrees ; Writing minor scale degrees ; Identifying major key signatures ; Identifying minor key signatures ; Writing major key signatures ; Writing minor key signatures ; Identifying relative keys ; Parallel keys -- Intervals. Identifying interval size ; Writing intervals ; Inverting intervals ; Identifying enharmonic intervals ; Identifying intervals in a key -- Triads and seventh chords. Identifying triad quality ; Writing triads ; Triad inversions ; Triads in major and minor keys ; Identifying seventh-chord qualities ; Seventh chords by root and quality ; Seventh-chord inversions -- Part two. Overview of harmony and voice leading. Four-part harmony. Identifying chords and doublings ; Leading tones and chordal sevenths ; Notation in SATB and keyboard formats ; Realizing Roman numerals ; Realizing figured bass -- Voice leading. Motion between intervals ; Locating perfect octaves and fifths within chords ; Approaching perfect octaves and fifths ; Smooth voice leading ; Resolving the leading tone and chordal sevenths ; Recognizing errors and approaching perfect intervals ; Error detection -- Harmonic progression. Beginning and ending a phrase ; Harmonizing melodies: preparatory exercises ; Harmonic functional categories: T, S, D -- Melodic elaboration. Arpeggiation ; Identifying embellishing tones ; Accompaniment pattern -- Species counterpoint. First species ; Second species ; Fourth species -- Part three. Diatonic harmony. I and V. Spelling I and IV -- Realizing Roman numerals -- Realizing figured bass -- Harmonizing melodies -- The dominant seventh chord: [V⁷] -- [I⁶ and V⁶] -- [V6/5 and V4/2] -- [V4/3 and vii⁰⁶] -- Approaching the dominant: IV, [ii⁶], and [ii6/5] -- Embellishing V: Cadential [6/4] -- Leading to the tonic: IV -- The leading-tone seventh chord: [vii⁰⁷] and [viiø⁷] -- Approaching V: [IV⁶, ii, ii⁷, and IV⁷] -- Multiple functions: VI -- Voice leading with embellishing tones -- III and VII -- Sequences -- Other [6/4] chords -- Other embellishing chords -- Part four. Chromatic harmony. Applied dominants of V. Notating V/V -- Other applied chords. Spelling applied dominants -- Modulation to the dominant key. Determining possible pivot chords -- Modulation to closely related keys. Determining closely related keys and pivot chords -- Modal mixture. Spelling borrowed chords -- [flat]ii⁶: the Neapolitan sixth. Spelling [flat]ii⁶ chords -- Augmented sixth chords. Spelling augmented sixth chords -- Other chromatically altered chords. Spelling chords -- Chromatic sequences. Realizing Roman numerals ; Completing chromatic sequences ; Realizing figured bass ; Equal division of the octave ; Strict chromatic sequences -- Chromatic modulation. Notating chromatic pivot chords -- Part five. Form. Sentences and other phrase types ; Periods and other phrase pairs ; Binary form ; Ternary and rondo forms ; Sonata form -- Part six. Post-tonal theory. Collections and scales I: Diatonic and pentatonic. Writing scales ; Identifying scales -- Collections and scales II: Octatonic, hexatonic, and whole-tone. Writing scales ; Identifying scales ; Interaction between scales -- Triadic post-tonality. Writing triadic transformations ; Identifying triadic transformations ; Triadic transformation chains -- Intervals. Identifying intervals ; Writing intervals -- Pitch-class sets: Trichords. Normal form ; Transposition ; Inversion ; Transposition and inversion ; Prime form -- Inversional symmetry. Wedge progressions ; Inversional symmetry ; Pitch ; Symmetrical pitch-class sets -- Twelve-tone serialism. Series forms -- Form. Analysis: sentences ; Analysis: periods ; Analysis: sonata form ; Analysis: moment form ; Analysis: collage form ; Analysis: form as process. |
| Abstract |
With the new second edition, Burstein and Straus have made the text better than ever by listening to professors and students and adding new coverage of post-tonal theory and more opportunities for music analysis. The text includes Norton's "Know It? Show It! online pedagogy," which has been proven to help students develop theory skills. |
| General note | Each chapter in parts three and four include sections such as "realizing Roman numerals," "realizing figured bass," "harmonizing melodies," "error detection," "identifying voice-leading errors", and "composition." |
| General note | Most chapters start with "questions for review" and end with an "analysis" section. |
| General note | Includes index. |
| ISBN | 9780393417036 |
| ISBN | 0393417034 |
