| Contents |
Preface -- Part 1: Fundamentals. Notation of pitch and rhythm ; Scales ; Intervals ; Triads and seventh chords -- Part 2: Overview of harmony and voice leading. Four-part harmony ; Voice leading ; Harmonic progression ; Figuration and embellishing tones ; Species counterpoint -- Part 3: Diatonic harmony. I and V ; 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 the tonic: IV ; The leading-tone seventh chord: vii⁰⁷ and viiø⁷ ; Approaching V: IV⁶, ii, ii⁷, and IV⁷ ; Multiple functions: VI ; Embellishing tones in four-part harmony ; III and VII ; Sequences ; Other ⁶/₄ chords ; Other embellishing chords -- Part 4: Chromatic harmony. Applied dominants of V ; Other applied chords ; Modulation to the dominant key ; Modulation to closely related keys ; Modal mixture ; ♭II⁶: the Neapolitan sixth ; Augmented sixth chords ; Other chords: altered, common-tone chromatic, and ninth chords ; Chromatic sequences ; Chromatic modulation -- Part 5: Form. Sentences and other phrase types ; Periods and other phrase pairs ; Binary form ; Ternary and rondo forms ; Sonata form -- Test yourself answers -- Glossary. |
| Contents |
Part one. Fundamentals. Notation of pitch and rhythm. The staff ; Notating pitches ; Rhythmic durations ; Simple meter ; Compound meter -- Scales. Major scale ; Minor scales ; Key signatures for major keys ; Key signatures for minor keys ; Relative and parallel keys -- Intervals. Interval size ; Simple and compound intervals ; Interval quality ; Consonant and dissonant intervals -- Triads and seventh chords. Triads ; Triads in major and minor keys ; Seventh chords ; Seventh chords in major and minor keys -- Part two. Overview of harmony and voice leading. Four-part harmony. Writing chords in four parts ; Formats for writing four-part harmony ; Realizing Roman numerals in four-part harmony ; Realizing figured bass -- Voice leading. Moving between harmonies (voice leading) ; Kinds of motion ; Voice leading in four-part harmony -- Harmonic progression. Beginning and ending phrases ; Function and harmonic patterns ; Harmonizing melodies -- Melodic elaboration. Arpeggiation ; Octave doubling ; Embellishing tones ; Other embellishments -- Species counterpoint. First species ; Second species ; Fourth species -- Part three. Diatonic harmony. I and V. The tonic and dominant triads ; Voice-leading in four-part harmony ; The leading tone within the V chord ; Leaps in upper voices ; Harmonization -- The dominant seventh chord: V⁷. V⁷ and tendency tones ; Omitting the fifth of V⁷ or I in four-part harmony ; V to V⁷ (V⁸⁻⁷) ; V⁷ at cadences ; Harmonization -- I⁶ and V⁶. I⁶ ; V⁶ -- V[6/5] and V[4/2]. Harmonic progressions ; V[6/4] and V[4/2] as embellishing harmonies ; Voice leading in four-part harmony ; Figured bass -- V[4/3] and vii°⁶. Harmonic progressions ; Alternating with other dominant-to-tonic progressions ; Voice-leading in four-part harmony ; Figured bass -- Approaching the dominant: IV, ii⁶, and ii[6/5]. Moving toward dominant harmonies ; Voice-leading in four-part harmony -- Embellishing V: cadential [6/4]. Embellishing V ; Harmonic progression and voice leading ; Labeling the cadential [6/4] ; The cadential [6/4] within phrases -- Leading to the tonic: IV. Harmonic progression ; IV as an embellishment ; Plagal cadence -- The leading-tone seventh chord: vii°⁷ and vii [degree sign with a backward slash across]⁷. vii°⁷ ; vii[degree sign with a backward slash across]⁷ -- Approaching V: IV⁶, ii, ii⁷, and IV⁷. IV⁶ ; Root-position ii ; ii⁷ and IV⁷ ; Alternating between subdominant harmonies -- Multiple functions: VI. Harmonies that follow VI ; Harmonies that lead to VI ; Voice leading ; "VI⁶" -- Voice leading with embellishing tones. Voice leading (creating and removing parallels) ; Accented dissonances in four-part harmony ; Pedal point ; Figured bass for embellishing tones ; 9 as suspension and V⁹ -- III and VII. Root-position III ; "III⁶" ; vii°[5/3] ; Subtonic VII -- Sequences. Repeated patterns ; Descending sequences ; Ascending sequences ; Voice leading in sequences -- Other [6/4] chords. [6/4] chords as embellishing harmonies ; Pedal [6/4] ; Passing [6/4] ; Arpeggiated [6/4] ; Comparison of [6/4] chord types -- Other embellishing chords. Passing and neighbor chords ; Passing IV⁶ ; Passing V⁶ ; I-IV⁶-I6 ; Harmonizing a scale in the bass -- Part four. Chromatic harmony. Applied dominants of V. Tonicization and applied dominants ; V/V ; The secondary leading tone ; V⁶/V ; V⁷/V in root position and inversions ; V/V in minor keys ; Other resolutions of V/V and V⁷/V -- Other applied chords. Applied V and V⁷ ; Applied vii°⁶ and vii°⁷ ; Using applied chords in harmonizing melodies -- Modulation to the dominant key. Modulation ; Pivot chords ; Distinguishing tonicizations from modulations ; Harmonizing melodies -- Modulations to closely related keys. Closely related keys ; Pivot chords ; Extended tonicizations ; Modulation schemes -- Modal mixture. Parallel minor in a major key ; Parallel major in a minor key -- [flat] ii⁶: the Neapolitan sixth. Building [flat] ii⁶ ; Harmonic progression ; Voice leading -- Augmented sixth chords. Types of augmented sixth chords: Italian, French, and German ; Harmonic progressions -- Other chromatically altered chords. Altered chords ; Altered dominant chords ; [flat] II in root position and in major keys ; Augmented sixth chords with bass notes other than [6 with a circumflex on top] ; Common-tone chromatic chords -- Chromatic sequences. Applied chords in sequences ; Other chromatic sequential patterns ; Strict chromatic sequences ; Equal division of the octave -- Chromatic modulation. Pivot chords involving mixture ; Common-tone modulation ; Enharmonic modulation ; Other types of modulation ; Chromatic key schemes -- Part five. Form. Sentences and other phrase types. Sentences ; Basic idea: repeated or varied ; Sentence length ; Sentence-like phrases -- Periods and other phrase pairs. Periods ; Paired phrases that are not periods ; Phrases within phrase pairs -- Binary form. Binary form ; Rounded binary form ; Balanced binary form ; Simple binary form ; Relative lengths of sections -- Ternary and rondo forms. Ternary form ; Rondo form -- Sonata form. Elements of sonata form ; Exposition ; Development ; Recapitulation ; Introduction and coda ; Sonata rondo -- Part six. Post-tonal theory. Collections and scales I: diatonic and pentatonic. Collection and scale ; Diatonic ; Pentatonic ; Relating diatonic and pentatonic -- Collections and scales II: octatonic, hexatonic, and whole-tone. Octatonic scales ; Hexatonic scales ; Whole-tone scales ; Interaction between scales -- Triadic post-tonality. Triadic transformation ; Parallel motion (planing) ; Triads with added notes ; Traditional progressions recomposed ; Bitonal and bi-triadic music -- Intervals. Pitch and pitch intervals ; Pitch class and pitch-class intervals -- Pitch-class sets: trichords. Pitch-class sets ; Transposition ; Inversion ; Set class ; Composing with pitch-class sets -- Inversional symmetry. Wedge progressions ; Inversional symmetry in pitch ; Inversional symmetry in pitch class -- Twelve-tone serialism. Twelve-tone series ; Basic operations ; Twelve-by-twelve matrix ; Twelve-counting a piece ; Subsets ; Invariance -- Form. Traditional phrase types ; Sonata form ; Moment form ; Collage form ; Form as a process -- Test yourself answers. |
| Abstract |
The authors combine decades of teaching experience with concise prose, carefully curated musical examples, and a robust, skill-sharpening media program to illuminate the essential concepts of music theory. |
| General note | Includes indexes. |
| Genre/form | Handbooks and manuals. |
| LCCN | 2015022960 |
| ISBN | 9780393264760 (hardcover) |
| ISBN | 0393264769 |
| ISBN | 9780393600452 |
| ISBN | 0393600459 |
| ISBN | 9780393264777 |
| ISBN | 0393264777 |
| ISBN | 9780393264821 |
| ISBN | 0393264823 |
