Preface |
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ix | (2) |
Suggestions to the Instructor |
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xi | |
Part I Rudiments |
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3 | (28) |
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1 The Great Staff and Piano Keyboard |
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3 | (1) |
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4 | (2) |
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6 | (7) |
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13 | (2) |
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15 | (2) |
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17 | (14) |
Part II Diatonic Materials |
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31 | (94) |
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1 Triads in Root Position |
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31 | (4) |
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2 The Tonic Triad in Root Position |
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35 | (3) |
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3 Connection of Tonic and Dominant Triads in Root Position |
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38 | (5) |
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4 The Dominant Seventh Chord in Root Position |
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43 | (6) |
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5 Connection of Tonic and Subdominant Triads in Root Position |
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49 | (1) |
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6 Connection of Subdominant and Dominant Triads in Root Position |
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50 | (3) |
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7 Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position |
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53 | (2) |
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8 The Cadential Tonic Six-Four Chord |
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55 | (4) |
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9 Tonic, Subdominant, and Dominant Triads in First Inversion |
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59 | (9) |
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68 | (6) |
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11 Inversions of the Dominant Seventh Chord |
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74 | (7) |
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12 Linear (Embellishing) Six-Four and Other Chords |
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81 | (4) |
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13 Submediant and Mediant Triads in Root Position and First Inversion |
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85 | (6) |
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14 The Leading Tone Triad |
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91 | (4) |
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15 Variant Qualities of Triads |
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95 | (8) |
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103 | (5) |
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17 The Supertonic Seventh Chord |
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108 | (5) |
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18 The Leading Tone Seventh Chord |
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113 | (6) |
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19 Other Diatonic Seventh Chords |
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119 | (6) |
Part III Chromatic Materials |
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125 | (66) |
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1 Secondary (Applied, Borrowed) Dominants |
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125 | (7) |
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132 | (7) |
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3 Linear (Embellishing) Diminished Seventh Chords |
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139 | (6) |
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145 | (5) |
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150 | (7) |
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6 Modulation by Other Means |
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157 | (4) |
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161 | (30) |
Part IV Twentieth-Century Materials |
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191 | (18) |
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1 Twentieth-Century Techniques: General Comments |
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167 | (2) |
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2 Further Concepts for Analysis |
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169 | (3) |
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3 Rhythmic and Metric Devices |
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172 | (4) |
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176 | (5) |
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5 The Diatonic (Church) Modes |
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181 | (3) |
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6 Exotic (Artificial, Synthetic) Scales |
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184 | (4) |
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188 | (3) |
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8 Quartal and Secondal Harmony |
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191 | (3) |
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9 Polyharmony and Polytonality |
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194 | (4) |
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10 Intervals in Twentieth-Century Music |
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198 | (2) |
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200 | (5) |
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12 Additional Contemporary Procedures |
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205 | (4) |
Part V Reference Materials |
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209 | (68) |
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209 | (2) |
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211 | (1) |
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3 Nonharmonic (Nonchord) Tones |
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212 | (2) |
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4 Relative and Linear Motion |
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214 | (1) |
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5 Guidelines for Voice Leading in Strict Four-Part Writing |
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215 | (2) |
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6 Guidelines for Doubling in Strict Four-Part Writing |
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217 | (1) |
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7 Checklist for Part-Writing |
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218 | (1) |
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8 Chord Functions in Tonal Music |
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219 | (2) |
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221 | (2) |
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10 Procedure for Harmonizing a Figured Bass |
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223 | (2) |
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11 Procedure for Harmonizing a Melody |
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225 | (4) |
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12 Models for Expansion and Elaboration |
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229 | (2) |
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13 Cadence and Phrase Structure |
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231 | (1) |
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14 Typical Phrase Variants |
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232 | (2) |
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234 | (6) |
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240 | (4) |
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244 | (4) |
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18 An Introduction to Tonal Melody |
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248 | (5) |
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19 An Introduction to Tonal Counterpoint |
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253 | (8) |
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261 | (7) |
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21 Checklist for Analysis |
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268 | (5) |
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273 | (2) |
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23 Instrumental Ranges and Transpositions |
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275 | (2) |
Bibliography |
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277 | (2) |
Index |
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279 | |