Tonal Harmony

Part I: Fundamentals Chapter 1: Elements of Pitch The Keyboard and Octave Registers Notation of the Staff The Major Scale The Major Key Signatures Minor Scale Minor Key Signatures Scale Degree Names Intervals Perfect, Major, and Minor Intervals Augmented and Diminished Intervals Inversion of Intervals Consonant and Dissonant Intervals SummaryVariations Chapter 2: Elements of Rhythm Rhythm Durational Symbols Beat and Tempo Meter Division of the Beat Simple Time Signatures Compound Time Signatures Time Signatures Summarized More on Durational Symbols Summary Variations Chapter 3: Introduction to Triads and Seventh Chords Introduction Triads Seventh Chords Inversions of Chords Inversion Symbols and Figured Bass Lead Sheet Symbols Recognizing Chords in Various Textures SummaryChapter 4: Diatonic Chords in Major and Minor Keys Introduction Diatonic Triads in Major The Minor Scale Diatonic Triads in Minor Diatonic Seventh Chords in Major Diatonic Seventh Chords in Minor SummaryPart II: Diatonic Triads Chapter 5: Principles of Voice Leading Introduction The Melodic Line Notating Chords Voicing a Singe Triad Parallel Motion SummaryChapter 6: Root Position Part Writing Introduction Root Position Part Writing with Repeated Roots Root Position Part Writing with Roots a 4th (5th) Apart Root Position Part Writing with Roots a 3rd (6th) Apart Root Position Part Writing with Roots a 2nd (7th) Apart Instrumental Ranges and Transpositions Summary Chapter 7: Harmonic Progression Introduction Sequences and the Circle of Fifths The I and V Chords The II Chord The VI Chord The III Chord The VII Chord The IV Chord Common Exceptions Differences in the Minor Mode Progressions Involving Seventh Chords More About Harmonic SequencesHarmonizing a Simple Melody Conclusion Summary Chapter 8: Triads in First Inversion Introduction Bass Arpeggiation Substituted First Inversion Triads Inversions in Lead SheetsParallel Sixth Chords Part Writing First Inversion Triads Soprano-Bass Counterpoint SummaryChapter 9: Triads in Second Inversion Introduction Bass Arpeggiation and the Melodic BassThe Cadential Six-Four
The Passing Six-Four
The Pedal Six-Four
Part Writing for Second Inversion TriadsSummaryChapter 10: Cadences, Phrases, Periods, and Sentences Musical Form Cadences Cadences and Harmonic Rhythm Motives and Phrases Mozart: "An die Freude" Period Forms The SentenceSummary Chapter 11: Two-Part Tonal CounterpointIntroduction Composing an Unembellished Bass LineComposing a Counterpoint to the Bass LineComposing the Contrapuntal VoiceWriting Your Own Harmonic ProgressionsSummary
Chapter 12: Non-Chord Tones 1Introduction
Classification of Non-Chord TonesPassing Tones
Contrapuntal Considerations
Embellished Cadences
Embellishing versus Composing
Neighboring Tones
Suspensions and RetardationsEmbellishing a Simple TextureFigured Bass and Lead Sheet Symbols
Summary
Chapter 13: Nonchord Tones 2AppoggiaturasEscape TonesThe Neighbor GroupAnticipationsThe Pedal PointSpecial Problems in the Analysis of Non-Chord TonesSummaryPart III: Diatonic Seventh Chords
Chapter 14: The V7 Chord
Introduction General Voice-Leading Considerations The Approach to the 7thThe V7 in Root PositionThe V7 in Three Parts Other Resolutions of the V7 The Inverted V7 Chord The V6/5 Chord The V4/3 Chord The V4/2 Chord Summary Chapter 15: Other Diatonic Seventh ChordsIntroduction The II7 Chord The VII7 Chord in Major The VII7 Chord in Minor The IV7 ChordThe VI7 ChordThe I7 ChordThe III7 Chord
Seventh Chords and the Circle-of -Fifths
Summary Part IV: ChromaticismChapter 16: Secondary Functions 1Chromaticism and Altered Chords Secondary Functions and Tonicization Secondary Dominant Chords Spelling Secondary Dominants Recognizing Secondary Dominants Secondary Dominants in Context SummaryChapter 17: Secondary Functions 2 Secondary Leading-Tone Chords Spelling Secondary Leading-Tone Chords Recognizing Secondary Leading-Tone Chords Secondary Leading-Tone Chords in Context Sequences Involving Secondary Functions Deceptive Resolutions of Secondary Functions Other Secondary Functions Summary Chapter 18: Modulations Using Diatonic Common Chords Modulation and Change of Key Modulation and Tonicization Key Relationships Common-Chord Modulation Analyzing Common-Chord Modulation Summary Chapter 19: Some Other Modulatory Techniques Altered Chords as Common Chords Sequential Modulation Modulation by Common Tone Monophonic Modulation Direct Modulation Summary Chapter 20: Binary and Ternary Forms Formal Terminology Binary Forms Ternary Forms Rounded Binary Forms 12-Bar Blues Other Forms with a Ternary DesignSonata FormRondo Form SummaryPart V: Chromaticism 2 Chapter 21: Mode Mixture and the NeapolitanIntroduction Borrowed Chords in Minor Borrowed Chords in Major: The Use of B-Flat 6Other Borrowed Chords in Major Modulations Involving Mode Mixture and the Neapolitan SummaryChapter 22: Augmented Sixth ChordsThe Interval of the Augmented Sixth The Italian Augmented Sixth Chord The French Augmented Sixth Chord The German Augmented Sixth Chord Other Uses of the Conventional Augmented Sixth Chords Other Bass PositionsResolutions to Other Scale Degrees
Summary VariationsChapter 23: Enharmonic Spellings and Enharmonic Modulations Enharmonic Spellings Enharmonic Reinterpretation Enharmonic Modulations Using the Major-Minor Seventh Sonority Enharmonic Modulations Using the Diminished Seventh Chord Other Examples of Enharmonicism SummaryChapter 24: Further Elements of the Harmonic Vocabulary Introduction The Dominant with a Substituted 6th The Dominant with a Raised 5th Ninth, Eleventh, and Thirteenth Chords The Common-Tone Diminished Seventh Chord Simultaneities Coloristic Chord Progressions Summary Chapter 25: Tonal Harmony in the Late Nineteenth Century Introduction More About MediantsMediant Chains and Other CombinationsCounterpoint and Voice LeadingSequences and Other Systematic ProceduresSummary Part VI: An Introduction to Twentieth-Century MusicChapter 26: Materials and TechniquesIntroduction Impressionism Scale Materials Chord Structure
Other Concepts
Rhythm and MeterSummary
Chapter 27: Post-Tonal TheoryIntroduction Basic Atonal TheoryTwelve-Tone Serialism Integral Serialism Summary Chapter Twenty-Eight: New DirectionsIntroduction Explorations of Texture, Timbre, and Tuning Indeterminacy Minimalism Electronic and Computer Music Summary and Forward Look Appendix A Instrumental Ranges and TranspositionsAppendix B Lead-Sheet Symbols Appendix C Set Class List Appendix D Answers to Self-Tests Index of Music Examples Subject Index

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• Teoria da música e musicologia