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Index
Cover IFC Title Statement Copyright Contents Preface to the Fourth Edition Preface to the Third Edition Part I: The Primary Materials and Procedures
Unit 1: Key, Scales, and Modes
Tonal Relationships; Major Keys Minor Keys; Modes; Tonality
Tonal Relationships; Major Keys Minor Keys; Modes; Tonality Unit 2: Intervals
Recognizing and Constructing Intervals The Overtone Series Consonance and Dissonance Intervals in a Key
Recognizing and Constructing Intervals The Overtone Series Consonance and Dissonance Intervals in a Key Unit 3: Rhythm and Meter
Rhythmic Organization Rhythm and Dissonance Treatment
Rhythmic Organization Rhythm and Dissonance Treatment Unit 4: Triads and Seventh Chords
Triads Seventh Chords Texture and Structure
Triads Seventh Chords Texture and Structure Unit 5: Introduction to Counterpoint
Species Counterpoint Cantus Firmus First Species Second Species Third Species Fourth Species Fifth Species Exercises
Species Counterpoint Cantus Firmus First Species Second Species Third Species Fourth Species Fifth Species Exercises Unit 6: Procedures of Four-Part Writing
Chord Construction Counterpoint in Chorale Textures: Voice Leading Points for Review Exercises
Chord Construction Counterpoint in Chorale Textures: Voice Leading Points for Review Exercises
Unit 1: Key, Scales, and Modes
Tonal Relationships; Major Keys Minor Keys; Modes; Tonality
Tonal Relationships; Major Keys Minor Keys; Modes; Tonality Unit 2: Intervals
Recognizing and Constructing Intervals The Overtone Series Consonance and Dissonance Intervals in a Key
Recognizing and Constructing Intervals The Overtone Series Consonance and Dissonance Intervals in a Key Unit 3: Rhythm and Meter
Rhythmic Organization Rhythm and Dissonance Treatment
Rhythmic Organization Rhythm and Dissonance Treatment Unit 4: Triads and Seventh Chords
Triads Seventh Chords Texture and Structure
Triads Seventh Chords Texture and Structure Unit 5: Introduction to Counterpoint
Species Counterpoint Cantus Firmus First Species Second Species Third Species Fourth Species Fifth Species Exercises
Species Counterpoint Cantus Firmus First Species Second Species Third Species Fourth Species Fifth Species Exercises Unit 6: Procedures of Four-Part Writing
Chord Construction Counterpoint in Chorale Textures: Voice Leading Points for Review Exercises
Chord Construction Counterpoint in Chorale Textures: Voice Leading Points for Review Exercises Part II: I-V-I and Its Elaborations
Unit 7: I, V, and V7
Tonic and Dominant I-V-I in Four Parts The Dominant Seventh Points for Review Exercises
Tonic and Dominant I-V-I in Four Parts The Dominant Seventh Points for Review Exercises Unit 8: I6, V6, and VII6
I6 and V6 VII6 (Leading-Tone Triad) Points for Review Exercises
I6 and V6 VII6 (Leading-Tone Triad) Points for Review Exercises Unit 9: Inversions of V7
V56, V34, and V24 Contrapuntal Expansions of Tonic and Dominant Points for Review Exercises
V56, V34, and V24 Contrapuntal Expansions of Tonic and Dominant Points for Review Exercises Unit 10: Leading to V: IV, II, and II6
Intermediate Harmonies IV and II in Contrapuntal Progressions Expansions of II and IV Harmonic Syntax; Rhythmic Implications Points for Review Exercises
Intermediate Harmonies IV and II in Contrapuntal Progressions Expansions of II and IV Harmonic Syntax; Rhythmic Implications Points for Review Exercises Unit 11: The Cadential 46
An Intensification of V Points for Review Exercises
An Intensification of V Points for Review Exercises Unit 12: VI and IV6
Uses of VI Uses of IV6 Points for Review Exercises
Uses of VI Uses of IV6 Points for Review Exercises Unit 13: Supertonic and Subdominant Seventh Chords
Supertonic Seventh Chords Subdominant Seventh Chords Points for Review Exercises
Supertonic Seventh Chords Subdominant Seventh Chords Points for Review Exercises Unit 14: Other Uses of IV, IV6, and VI
IV and IV6 VI Summary of Cadences Points for Review Exercises
IV and IV6 VI Summary of Cadences Points for Review Exercises Unit 15: V as a Key Area
Tonicization and Modulation Applications to Written Work Points for Review Exercises
Tonicization and Modulation Applications to Written Work Points for Review Exercises Unit 16: III and VII
Uses of III Uses of VII Points for Review Exercises
Uses of III Uses of VII Points for Review Exercises
Unit 7: I, V, and V7
Tonic and Dominant I-V-I in Four Parts The Dominant Seventh Points for Review Exercises
Tonic and Dominant I-V-I in Four Parts The Dominant Seventh Points for Review Exercises Unit 8: I6, V6, and VII6
I6 and V6 VII6 (Leading-Tone Triad) Points for Review Exercises
I6 and V6 VII6 (Leading-Tone Triad) Points for Review Exercises Unit 9: Inversions of V7
V56, V34, and V24 Contrapuntal Expansions of Tonic and Dominant Points for Review Exercises
V56, V34, and V24 Contrapuntal Expansions of Tonic and Dominant Points for Review Exercises Unit 10: Leading to V: IV, II, and II6
Intermediate Harmonies IV and II in Contrapuntal Progressions Expansions of II and IV Harmonic Syntax; Rhythmic Implications Points for Review Exercises
Intermediate Harmonies IV and II in Contrapuntal Progressions Expansions of II and IV Harmonic Syntax; Rhythmic Implications Points for Review Exercises Unit 11: The Cadential 46
An Intensification of V Points for Review Exercises
An Intensification of V Points for Review Exercises Unit 12: VI and IV6
Uses of VI Uses of IV6 Points for Review Exercises
Uses of VI Uses of IV6 Points for Review Exercises Unit 13: Supertonic and Subdominant Seventh Chords
Supertonic Seventh Chords Subdominant Seventh Chords Points for Review Exercises
Supertonic Seventh Chords Subdominant Seventh Chords Points for Review Exercises Unit 14: Other Uses of IV, IV6, and VI
IV and IV6 VI Summary of Cadences Points for Review Exercises
IV and IV6 VI Summary of Cadences Points for Review Exercises Unit 15: V as a Key Area
Tonicization and Modulation Applications to Written Work Points for Review Exercises
Tonicization and Modulation Applications to Written Work Points for Review Exercises Unit 16: III and VII
Uses of III Uses of VII Points for Review Exercises
Uses of III Uses of VII Points for Review Exercises Part III: 35, 36, and 46 Techniques
Unit 17: 35 -Chord Techniques
Progressions by 5ths and 3rds Contrapuntal Chord Functions V as a Minor Triad Ponits for Review Exercises
Progressions by 5ths and 3rds Contrapuntal Chord Functions V as a Minor Triad Ponits for Review Exercises Unit 18: Diatonic Sequences
Compositional Functions Sequences with Descending 5ths Sequences with Ascending 5ths Sequences Using the Ascending 5-6 Technique Sequences Using the Descending 5-6 Technique (Falling in 3rds) Less Frequent Sequential Patterns Sequences Moving to Tonicized V Sequences in Minor Ponits for Review Exercises
Compositional Functions Sequences with Descending 5ths Sequences with Ascending 5ths Sequences Using the Ascending 5-6 Technique Sequences Using the Descending 5-6 Technique (Falling in 3rds) Less Frequent Sequential Patterns Sequences Moving to Tonicized V Sequences in Minor Ponits for Review Exercises Unit 19: 36 -Chord Techniques
36 Chords in Parallel Motion Other Uses of 36 Chords Points for Review Exercises
36 Chords in Parallel Motion Other Uses of 36 Chords Points for Review Exercises Unit 20: 46 -Chord Techniques
Dissonant 46 Chords Special Treatment of Cadential 46 Chords Consonant 46 Chords Some Special Cases Points for Review Exercises
Dissonant 46 Chords Special Treatment of Cadential 46 Chords Consonant 46 Chords Some Special Cases Points for Review Exercises
Unit 17: 35 -Chord Techniques
Progressions by 5ths and 3rds Contrapuntal Chord Functions V as a Minor Triad Ponits for Review Exercises
Progressions by 5ths and 3rds Contrapuntal Chord Functions V as a Minor Triad Ponits for Review Exercises Unit 18: Diatonic Sequences
Compositional Functions Sequences with Descending 5ths Sequences with Ascending 5ths Sequences Using the Ascending 5-6 Technique Sequences Using the Descending 5-6 Technique (Falling in 3rds) Less Frequent Sequential Patterns Sequences Moving to Tonicized V Sequences in Minor Ponits for Review Exercises
Compositional Functions Sequences with Descending 5ths Sequences with Ascending 5ths Sequences Using the Ascending 5-6 Technique Sequences Using the Descending 5-6 Technique (Falling in 3rds) Less Frequent Sequential Patterns Sequences Moving to Tonicized V Sequences in Minor Ponits for Review Exercises Unit 19: 36 -Chord Techniques
36 Chords in Parallel Motion Other Uses of 36 Chords Points for Review Exercises
36 Chords in Parallel Motion Other Uses of 36 Chords Points for Review Exercises Unit 20: 46 -Chord Techniques
Dissonant 46 Chords Special Treatment of Cadential 46 Chords Consonant 46 Chords Some Special Cases Points for Review Exercises
Dissonant 46 Chords Special Treatment of Cadential 46 Chords Consonant 46 Chords Some Special Cases Points for Review Exercises Part IV: Elements of Figuration
Unit 21: Melodic Figuration
Chordal Skips (Arpeggios) Passing and Neighboring Tones Points for Review Exercises
Chordal Skips (Arpeggios) Passing and Neighboring Tones Points for Review Exercises Unit 22: Rhythmic Figuration
Suspensions Anticipations The Pedal Point Points for Review Exercises
Suspensions Anticipations The Pedal Point Points for Review Exercises
Unit 21: Melodic Figuration
Chordal Skips (Arpeggios) Passing and Neighboring Tones Points for Review Exercises
Chordal Skips (Arpeggios) Passing and Neighboring Tones Points for Review Exercises Unit 22: Rhythmic Figuration
Suspensions Anticipations The Pedal Point Points for Review Exercises
Suspensions Anticipations The Pedal Point Points for Review Exercises Part V: Dissonance and Chromaticism I
Unit 23: Leading-Tone Seventh Chords
The Diminished Seventh Chord The Half-Diminished Seventh Chord Points for Review Exercises
The Diminished Seventh Chord The Half-Diminished Seventh Chord Points for Review Exercises Unit 24: Mixture
Combining Modes Points for Review Exercises
Combining Modes Points for Review Exercises Unit 25: Remaining Uses of Seventh Chords
Seventh Chords in Sequence Expanded Treatment of Seventh Chords Apparent Seventh Chords Points for Review Exercises
Seventh Chords in Sequence Expanded Treatment of Seventh Chords Apparent Seventh Chords Points for Review Exercises Unit 26: Applied V and VII
Applied Chords Chords Applied to V Other Applied Chords Applied Chords in Sequence Points for Review Exercises
Applied Chords Chords Applied to V Other Applied Chords Applied Chords in Sequence Points for Review Exercises Unit 27: Diatonic Modulation
Modulatory Techniques Modulation, Large-Scale Motion, and Form Points for Review Exercises
Modulatory Techniques Modulation, Large-Scale Motion, and Form Points for Review Exercises
Unit 23: Leading-Tone Seventh Chords
The Diminished Seventh Chord The Half-Diminished Seventh Chord Points for Review Exercises
The Diminished Seventh Chord The Half-Diminished Seventh Chord Points for Review Exercises Unit 24: Mixture
Combining Modes Points for Review Exercises
Combining Modes Points for Review Exercises Unit 25: Remaining Uses of Seventh Chords
Seventh Chords in Sequence Expanded Treatment of Seventh Chords Apparent Seventh Chords Points for Review Exercises
Seventh Chords in Sequence Expanded Treatment of Seventh Chords Apparent Seventh Chords Points for Review Exercises Unit 26: Applied V and VII
Applied Chords Chords Applied to V Other Applied Chords Applied Chords in Sequence Points for Review Exercises
Applied Chords Chords Applied to V Other Applied Chords Applied Chords in Sequence Points for Review Exercises Unit 27: Diatonic Modulation
Modulatory Techniques Modulation, Large-Scale Motion, and Form Points for Review Exercises
Modulatory Techniques Modulation, Large-Scale Motion, and Form Points for Review Exercises Part VI: Dissonance and Chromaticism II
Unit 28: Seventh Chords with Added Dissonance
Ninths “Elevenths” and “Thirteenths” Points for Review Exercises
Ninths “Elevenths” and “Thirteenths” Points for Review Exercises Unit 29: The Phrygian II (Neapolitan)
A Chord Leading to V Other Uses of bII Chromatic Notation Points for Review Exercises
A Chord Leading to V Other Uses of bII Chromatic Notation Points for Review Exercises Unit 30: Augmented Sixth Chords
A Chromatic Preparation for V Approaching Augmented Sixth Chords Details of Voice Leading Augmented Sixths and Modulation “Inversions” of Augmented Sixth Chords Motion to Applied Dominants and Nondominant Chords German Sixth and Dominant Seventh Points for Review Exercises
A Chromatic Preparation for V Approaching Augmented Sixth Chords Details of Voice Leading Augmented Sixths and Modulation “Inversions” of Augmented Sixth Chords Motion to Applied Dominants and Nondominant Chords German Sixth and Dominant Seventh Points for Review Exercises Unit 31: Other Chromatic Chords
Advanced Uses of Mixture Augmented Triads Altered Dominant Seventh Chords Common-Tone Diminished Seventh Chords Other Chromatic Embellishing Chords Points for Review Exercises
Advanced Uses of Mixture Augmented Triads Altered Dominant Seventh Chords Common-Tone Diminished Seventh Chords Other Chromatic Embellishing Chords Points for Review Exercises Unit 32: Chromatic Voice-Leading Techniques
Chromaticism Based on Parallel Motion Chromaticism Based on Contrary Motion Equal Divisions of the Octave Points for Review Exercises
Chromaticism Based on Parallel Motion Chromaticism Based on Contrary Motion Equal Divisions of the Octave Points for Review Exercises Unit 33: Chromaticism in Larger Contexts
New Modulatory Techniques Chromatic Tonal Areas Points for Review Exercises
New Modulatory Techniques Chromatic Tonal Areas Points for Review Exercises
Unit 28: Seventh Chords with Added Dissonance
Ninths “Elevenths” and “Thirteenths” Points for Review Exercises
Ninths “Elevenths” and “Thirteenths” Points for Review Exercises Unit 29: The Phrygian II (Neapolitan)
A Chord Leading to V Other Uses of bII Chromatic Notation Points for Review Exercises
A Chord Leading to V Other Uses of bII Chromatic Notation Points for Review Exercises Unit 30: Augmented Sixth Chords
A Chromatic Preparation for V Approaching Augmented Sixth Chords Details of Voice Leading Augmented Sixths and Modulation “Inversions” of Augmented Sixth Chords Motion to Applied Dominants and Nondominant Chords German Sixth and Dominant Seventh Points for Review Exercises
A Chromatic Preparation for V Approaching Augmented Sixth Chords Details of Voice Leading Augmented Sixths and Modulation “Inversions” of Augmented Sixth Chords Motion to Applied Dominants and Nondominant Chords German Sixth and Dominant Seventh Points for Review Exercises Unit 31: Other Chromatic Chords
Advanced Uses of Mixture Augmented Triads Altered Dominant Seventh Chords Common-Tone Diminished Seventh Chords Other Chromatic Embellishing Chords Points for Review Exercises
Advanced Uses of Mixture Augmented Triads Altered Dominant Seventh Chords Common-Tone Diminished Seventh Chords Other Chromatic Embellishing Chords Points for Review Exercises Unit 32: Chromatic Voice-Leading Techniques
Chromaticism Based on Parallel Motion Chromaticism Based on Contrary Motion Equal Divisions of the Octave Points for Review Exercises
Chromaticism Based on Parallel Motion Chromaticism Based on Contrary Motion Equal Divisions of the Octave Points for Review Exercises Unit 33: Chromaticism in Larger Contexts
New Modulatory Techniques Chromatic Tonal Areas Points for Review Exercises
New Modulatory Techniques Chromatic Tonal Areas Points for Review Exercises Appendix I: Keyboard Progressions Appendix II: Score Reduction Appendix III: Roman Numerals and Registers; Explanatory Tables and Charts Index of Musical Examples Subject Index
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