PrefaceA Message to the Student: Why Do We Study Music Theory? Introduction: The Fundamentals of MusicChapter APitch: Notation and IntervalsChapter BRhythm and MeterChapter CTonality: Scales and KeysChapter DThe Rudiments of Harmony I: Triads and Seventh ChordsChapter EThe Rudiments of Harmony II: Labeling Chords. Musical TextureChapter FIntroduction to Species Counterpoint Part I: Diatonic HarmonyChapter 1 Harmonic Progression. The Connection of ChordsChapter 2The Fundamental Progression: The Tonic and Dominant Triads in Root Position. Chapter 3Harmonic Function; the Subdominant Triad in Root PositionChapter 4 Triads in First InversionChapter 5The Supertonic: Melody HarmonizationChapter 6 Nonchord TonesChapter 76/4 ChordsChapter 8The Dominant Seventh and Its InversionsChapter 9The Leading-Tone TriadChapter 10 CadencesChapter 11 Building the Context for Harmony I: Phrase StructureChapter 12 Building the Context for Harmony II: Thematic DevelopmentChapter 13 Harmonic Rhythm; Metric ReductionChapter 14 The Mediant, Submediant, and Subtonic TriadsChapter 15 Other Diatonic Seventh ChordsChapter 16 Harmonic Sequences Part II: Chromatic Harmony and FormChapter 17 Tonicization IChapter 18 Tonicization IIChapter 19 Tonicization III: Secondary Leading-Tone ChordsChapter 20 Modulation to Closely-Related KeysChapter 21 Small Forms: Binary and Ternary; Variation FormsChapter 22 Contrapuntal Genres: Invention and FugueChapter 23 Modal MixtureChapter 24 The Neapolitan ChordChapter 25 Augmented Sixth ChordsChapter 26 Chromatic Modulatory Techniques:Modulation to Distantly Related Keys IChapter 27 Modulation to Distantly-Related Keys II; Linear Chromaticism IChapter 28 Introduction to Large FormsChapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II;Chapter 30 The German Romantic Lied: Chromatic Harmony in ContextChapter 31 Toward (and Beyond) the Limits of Functional Tonality Appendix: Transposing Instruments Musical Example IndexSubject Index
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