DETAILED CONTENTS
PREFACE
PART 1: FOUNDATIONS
CHAPTER 1A Musical Space: Pitches, Scales, and Keys
Overview
What Is Tonality?
What Is Pitch?
How Can We Notate Pitch?
Ledger Lines and Ottavas
Pitch Class and Register
Music Theory in the Practice Room: Pitches and Octave Designations at the Keyboard
What Are Half Steps and Whole Steps?
What Are Accidentals?
What Are Enharmonic Equivalents?
So, Does Spelling Matter?
Music Theory in the Practice Room: Enharmonic Equivalents
How Do We Build Scales?
Chromatic vs. Diatonic Scales
Building Major Scales
What Are Key Signatures, and How Does the Circle of Fifths Help?
The Circle of Fifths
Building Minor Scales
Natural Minor, Harmonic Minor, and Melodic Minor Scales
Three Forms of Minor Scales, but Only One Minor Key
Parallel Major and Minor Keys
Music Theory in the Practice Room: Major and Minor Scales
How to Transpose a Tonal Melody Using Scale Degrees
Returning to Where We Began: Scale-Degree Tendencies
Terms and Concepts
What's Next?
CHAPTER 1B Musical Time: Meter and Rhythm
Overview
Making Meters
Classifying Meters
Notating Rhythms: Notes and Rests
Dots and Ties
Notating Meters: Time Signatures
Time Signatures for Simple Meters
Time Signatures for Compound Meters
Making Sure Meter and Rhythm Correspond: Beaming
Asymmetrical Meters
Triplets and Other "Tuplets"
Clarifying and Challenging Meter: Types of Accent
Rhythmic (or Agogic) Accents
Registral Accents
Articulative Accents
Terms and Concepts
What's Next?
CHAPTER 1C Musical Distance: Intervals
Overview
How Do We Measure an Interval's Size?
The Numeric Part: Generic Interval Size
How Do We Handle Intervals Larger than an Octave?
Fine-Tuning Our Measurement: Specific Interval Quality
Major and Minor Intervals
Perfect Intervals
Analyzing Intervals Using the Tonic-Pitch Method
Diminished and Augmented Intervals
Analyzing Intervals Using the Game Board Method
Constructing Intervals Above a Given Pitch Using the Game Board Method
Intervals in a Key
What Is Interval Inversion?
Constructing Intervals Below a Given Pitch Using the Inversion Method
Constructing Intervals Below a Given Pitch Using the Chromatic Adjustment Method
Analyzing Intervals Using the Chromatic Adjustment Method
The Keyboard Topography Method
Perfect Fifths and Perfect Fourths
Tritones
Major Thirds (and therefore Minor Sixths)
Minor Thirds (and therefore Major Sixths)
Intervallic Transposition and Transposing Instruments
Why Does Spelling Matter?: Enharmonic Intervals
Constructing and Analyzing Intervals Using the Enharmonic Method
Consonant and Dissonant Intervals
Terms and Concepts
What's Next?
CHAPTER 2 Pitch and Meter Combine: Melody and Counterpoint
Overview
Which Features Make a Tonal Melody Compelling?
Studying Melodies
Composing Melodic Contours (Pitches without Rhythm and Meter)
Composing Melodies (Pitches with Rhythm and Meter)
When Two Melodies Combine: An Introduction to Two-Voice Counterpoint
Melodic Considerations Within the Counterpoint Line
Vertical Considerations Between the Counterpoint Line and the Cantus Firmus
First-Species Counterpoint in Action
This Is Tricky, Right?! An Historical Interlude
Second-Species Counterpoint: Meter and Dissonance Enter the Stage
Putting It Together
Terms and Concepts
What's Next?
CHAPTER 3 Triads, Seventh Chords, and Texture
Overview
What Is a Triad?
Two Methods for Constructing Triads
Music Theory in the Practice Room
Doubling
Spacing
What Are Inverted Triads?
What Are Figured-Bass Symbols?
Figured Bass for Triads
How Does Figured Bass Show Chromatic Alterations?
How Does Figured Bass Show Melodic Motion in the Upper Voices?
Roman Numerals in the Major Mode
Roman Numerals in the Minor Mode
Music Theory in the Practice Room: Triads in a Key
Analyzing Harmonies with Roman Numerals and Figured Bass Combined
What Are Seventh Chords?
Five Qualities of Seventh Chords
A Method for Constructing Seventh Chords: Treat the Triad and the Seventh Separately
Music Theory in the Practice Room: Seventh Chords
On Which Scale Degrees Do We Find Each Quality of Seventh Chord in Major and Minor Keys?
Seventh Chords in Inversion
A Hint for Identifying Inverted Seventh Chords
What Is Musical Texture?
But First, Some Basic Terminology
Navigating Accompanimental Figurations in Harmonic Analysis
Broken-Chord Figurations
Block-Chord Figurations
Harmonic Reduction
Terms and Concepts
What's Next?
PART 2: FUSING MELODY, HARMONY, AND COUNTERPOINT
CHAPTER 4 The Role of Context: Embellishing Tones and Melodic Shape
Overview
The Importance of Context
Tonal Context Refines Consonance and Dissonance
Harmonic Context Distinguishes Chord Tones from Embellishing Tones
Analyzing Embellishing Tones: The Importance of Harmony
Melodic Context: Connecting the Dots to Find Shapes
Two Embellishments of the Same Shape: A Sample of Long-Range Melodic Analysis
Melodic Fluency
Musical Arches and Nested Lines
Gap-Fill: "I Owe You One," Melodically Speaking
Embellishment: A Walk-Through
Solo Polyphony: Harmony in Melody
Terms and Concepts
What's Next?
CHAPTER 5 Tonic, Dominant, and Voice Leading
Overview
What Are Tonic and Dominant?
The Tonic on its Own: Stability
The Dominant on its Own: Instability
Tonic and Dominant Combined: Cadence Types
The Half Cadence: Arriving on the Dominant
The Imperfect Authentic Cadence: Harmonic Arrival on the Tonic
The Perfect Authentic Cadence: Melodic and Harmonic Closure Coincide
Contrapuntal Cadences: The Bass Arrives by Step on the Tonic
Revisiting First-Species Counterpoint: Harmonizing Melodies with Tonic and Dominant
Adding a Bass
Adding a Melody: Crafting a Convincing Line within Harmonic Constraints
Introduction to Voice Leading
Which Textures Are We Trying to Create?
Open Score
Chorale Style
Keyboard Style
Figurated Textures
Keyboard Interlude: Hand Shapes for I, I, and V in Keyboard Style
What Are We Trying to Achieve with Voice Leading?
Goal #1: Clear and Full-Sounding Harmonies
Chord Content
Doubling
Spacing
Vocal Registers in Chorale Style
Goal #2: Creating Smooth Melodic Lines
Resolving the Leading Tone
Leaps
Goal #3: Independence Between Voices
Registral Independence
Treatment of Perfect Consonances
A General Strategy
Terms and Concepts
What's Next?
CHAPTER 6 V7 and Two-Level Analysis
Overview
Two Levels of Architecture
How Does an Embellishing Tone Become an Embellishing Chord?
Embellishing the Embellishing Chords: Arriving at the Musical Surface
What Is Second-Level Analysis?
How to Do Second-Level Analysis: An Analytical Walkthrough
The V7 Chord
Keyboard Interlude: Voice Leading with the V7 Chord
Use of Incomplete Chords
Unequal Fifths
Harmonizing Melodies with V7
Harmonizing Melodies with Slower Harmonic Rhythm
Step #1: Identify Cadences and Phrase Beginnings
Step #2: Look for Harmonic Clues in the Melody
Step #3: Filling in the Gaps, Considering the Harmonic Rhythm
Terms and Concepts
What's Next?
CHAPTER 7 Expanding Tonic and Dominant with First-Inversion Triads
Overview
Punctuation vs. Flow
Adding Detail to Second-Level Analysis
Chordal Leap in the Bass: I6
A New Right-Hand Shape at the Keyboard: Neutral Position
Neighbor Tone in the Bass: V6
Incomplete Neighbor Tone in the Bass
More with Neutral Position: A Keyboard Interlude
V6 in a Dominant Expansion
Passing Tone in the Bass: viio6
Keyboard Paradigms and Voice Leading
Downward Arpeggiation in the Bass: IV6
Expanding the Dominant with a Passing Bass: IV6
Putting it Together: Composing Contrapuntally
Terms and Concepts
What's Next?
CHAPTER 8 Inversions of V7 and Leading-Tone Seventh Chords
Overview
What Are Harmonic Paradigms?
What Contrapuntal Roles Do Inversions of V7 Play?
V6/5: A Neighboring Chord with 7 in the Bass
V6/5 in a Dominant Expansion
V4/3: A Passing or Neighboring Chord with 2 in the Bass
V4/2: An Incomplete-Neighboring, Passing, or Neighboring Chord with 4 in the Bass
Evading a Cadence with V4/2
Extended Prolongations of Tonic: Combining Inversions of V7
Leading-Tone Seventh Chords: vii°7 and viiØ7
viiø7
Summary of Contrapuntal Expansions: A Bass Map
Terms and Concepts
What's Next?
PART 3: ESTABLISHING, EXPANDING, AND EMBELLISHING THE PHRASE MODEL
CHAPTER 9 The Pre-Dominant Function and the Phrase Model
Overview
What Is a Pre-Dominant?
What Is the Phrase Model?
Pre-Dominant Chords in Context: The Details
The Subdominant: IV in Major, iv in Minor
The Phyrigian Half Cadence
The Supertonic: ii or ii6 in Major, ii°6 in Minor
1-2-3-4-5 in the Bass
How Can the Pre-Dominant Function Be Expanded?
Chordal Skip
Passing I6
The IV-ii Pair
Terms and Concepts
What's Next?
CHAPTER 10 Accented and Chromatic Embellishing Tones
Overview
Embellishments: The Cake, Not Just the Frosting
How Do Unaccented and Accented Embellishing Tones Differ?
What are Accented and Chromatic Passing Tones (APT, CPT)?
What is an Accented Neighboring Tone (AN)?
What is a Chromatic Neighboring Tone (CN)?
What is a Suspension (S)?
Suspensions in a Harmonic Context
How Can Suspensions Be Varied?
How Do We Insert Suspensions into a Phrase?
Suspension Chains
What is an Appoggiatura (APP)?
What is an Anticipation (ANT)?
What is a Pedal (PED)?
Terms and Concepts
What's Next?
CHAPTER 11 Six-Four Chords and Plagal Motions
Overview
What Are the Four Types of Six-Four Chords?
1. Pedal Six-Four Chords
Embellishing the Tonic
Embellishing the Dominant
2. Passing Six-Four Chords
3. Arpeggiating Six-Four Chords
4. Cadential Six-Four Chords
The Cadential Six-Four as a Double Suspension
The Cadential Six-Four as Accented Passing Tone(s)
V8/6/4--7/5/3
The Cadential Six-Four Within a Phrase
Cadential Six-Four Chords in Triple Meter
Evaded Cadences
Plagal Motion: Expanding the Tonic with IV
Plagal Cadence
Harmonizing Florid Melodies
Terms and Concepts
What's Next?
CHAPTER 12 Pre-Dominant Seventh Chords and Embedded Phrase Models
Overview
How Do Pre-Dominant Seventh Chords Behave?
ii6/5 and iiø6/5
ii7 and iiø7
IV7 and iv7
Trusting Your Ear, Not Just Your Eye
How Can the Pre-Dominant Function Be Expanded?
1. Voice Exchange on ii (ii-ii6 or ii6-ii)
2. Adding a Passing Chord (ii-I6-ii6 or ii6-I6-ii)
3. Voice Exchange on iv with a Passing 6/4 (iv-i6/4-iv6 or iv6-i6/4-iv)
4. Passing i6/4 Connecting iiø6/5 and iv6
5. Adding a Passing Chord to the IV-ii Pair
How Can the Phrase Model Be Embedded Within Just a Portion of the Phrase?
Extending a Phrase Using an Embedded Phrase Model
What is a Contrapuntal Cadence?
What is a Subphrase?
Not Every Caesura Marks the End of a Subphrase!
Terms and Concepts
What's Next?
CHAPTER 13 The Submediant and the Step-Descent Bass
Overview
How Does the Submediant Chord Function?
1. The Submediant as a Pre-Pre-Dominant Bridge
Descending Fifths: I-vi-ii(7) or i-VI-ii(Ø7)
Descending Bass Arpeggiation: 1-6-4
2. The Submediant as a Surprising Substitute for Tonic: Deceptive Motion (V-vi, V-VI)
3. The Submediant as a Pre-Dominant
Apparent Submediants: I5-6
The Step-Descent Bass
1. The Direct Step Descent
2. The Indirect Step Descent
Step Descent Bass Paradigms
Terms and Concepts
What's Next?
CHAPTER 14 The Mediant and the Back-Relating Dominant
Overview
How Does the Mediant Triad (iii) Behave in the Major Mode?
Apparent Mediants: “iii”
How vi and iii Interact
How Does the Mediant Triad (III) Behave in the Minor Mode?
Preparing the III Chord with its Own Dominant
III without an Applied Dominant
The Mediant as a Text-Expressive Device
What Is a Back-Relating Dominant?
Swimming Upstream in the Phrase Model? An Analytical Quandary
Terms and Concepts
What's Next?
PART 4: SMALL FORMS
CHAPTER 15 Periods
Overview
What Is a Period?
Representing Form Graphically
Which Types of Periods Are There?
Interrupted Period: The Consequent Starts Over After a Half Cadence
Continuous Period: The Consequent Begins Off-Tonic
With the Consequent Beginning on V(7)
With the Consequent Beginning on ii
Sectional Period: Two Authentic Cadences of Different Strengths
Progressive Period: The Consequent Modulates to a New Key
Is it a Period? The Importance of Analytical Sensitivity
Terms and Concepts
What's Next?
CHAPTER 16 Sentences, Double Periods, and Asymmetric Periods
Overview
What Is a Sentence?
How Can Sentences and Periods Combine? A Form within a Form
What Is a Double Period?
What Are Asymmetric Periods?
Terms and Concepts
What's Next?
AN INTERMEZZO ON MUSICAL MOTIVES
Coherence and Contrast
What Is a Musical Motive?
Three Ways of Repeating a Motive
1. Strict Repetition
2. Modified Repetition
Embellishment
Transposition
Transposed Imitation
Modifying Rhythmic Values
Modifying Pitches or Intervals
Modifying Contour
3. Developmental Repetitions
Putting the Pieces Together: Motivic Fragmentation in a Sentence
Hidden Motivic Repetitions
PART 5: EXPRESSIVE COLOR THROUGH CHROMATICISM
CHAPTER 17 Applied Chords
Overview
What Are Applied Chords?
What Do Applied Chords Do?
Constructing Applied Dominants
Applied Dominants in Inversion
Locating and Identifying Applied Chords
Applied Leading-Tone Chords
What Is Extended Tonicization, and How Is it Notated?
Tonicized Half Cadences
Deceptive Resolution of Applied Chords
Chromaticism as Lighting Design: Color and Emphasis
Applied Chords and Meter
Cross Relations
Multiple Lighting Plots
Terms and Concepts
What's Next?
CHAPTER 18 Modulation
Overview
Overnight Travel: What Is Modulation?
The Destinations: To Where Can We Travel via Diatonic Modulation?
Method #1: Diatonic Triads
Method #2: Key Signatures
The Routes: How Do We Modulate from One Key to Another?
How to Select a Pivot Chord
Strategies for Analyzing a Modulating Phrase: Locating the Pivot Chord
V in I vs. I in V: Distinguishing the Dominant Chord from the Dominant Key
Composing a Convincing Modulation: Getting Your Foot in the Door of the New Key
Terms and Concepts
What's Next?
CHAPTER 19 Harmonic Sequences
Overview
What is a Harmonic Sequence?
What Role Do Harmonic Sequences Play in a Phrase?
Which Types of Harmonic Sequences Are There?
D2 (?5,?4)
D3 (?4,?2)
A2 (?3,?4)
A2 (?5,?4)
A Tutorial on Writing Sequences
Embellishing the D2 (?5,?4) Sequence with Chordal Sevenths
Basic Sequences + Chromaticism: Applied-Chord Sequences
D2 Sequences with Applied Chords
D3 Sequences with Applied Chords
A2 Sequences with Applied Chords
Basic Sequences + Modulation: Modulating Sequences
Terms and Concepts
What's Next?
CHAPTER 20 Binary Form and Variations
Overview
Sprinting Through an Art Museum: Categories Are Only a Starting Point
How Do We Get Our Bearings in a Binary-Form Piece?
Simple Sectional Binary
Compositional Problem-Solving
Simple Continuous Binary
Compositional Problem-Solving
Balanced Binary Form: Another Solution to the Coherence Problem
Rounded Sectional Binary
Compositional Problem-Solving
Rounded Continuous Binary
Compositional Problem-Solving
Variation Technique
Samples of Continuous Variations
Terms and Concepts
What's Next?
CHAPTER 21 Modal Mixture
Overview
Modal Mixture: Music's Body Language
What are the Most Common Modal Mixture Harmonies?
Applying Modal Mixture to Predominants: ii°, iiØ7, and iv
In Context
Applying Modal Mixture to the Submediant:?VI
In Context
Applying Modal Mixture to the Mediant: bIII
Applying Modal Mixture to the Tonic: i
Modal Mixture without Harmonic Change: Tonic Pedals
Chromatic Stepwise Bass Descents
In Minor
In Major
Adding Modal Mixture to Plagal Motions
Can Modal Mixture Feature Chromatically Raised Notes, Too? (Yes.)
New Harmonic Colors: Three Kinds of Third Relations
Terms and Concepts
What's Next?
CHAPTER 22 Chromatic Modulation and Text-Music Relations
Overview
How Does a Chromatic Pivot-Chord Modulation Work?
Strategies for Writing a Chromatic Pivot-Chord Modulation
A More Sudden Alternative: Chromatic Common-Tone Modulations
Subtlety in Common-Tone Modulations
How Can One Tell a Chromatic Pivot-Chord Modulation from a Chromatic Common-Tone Modulation?
Enharmonic Keys: #V Is Really bVI
The Expressive Power of Modal Mixture
Terms and Concepts
What's Next?
CHAPTER 23 Neapolitan Chords
Overview
What Is the Neapolitan Chord?
Altering iio6
The Neapolitan in Context
What Expressive Effect Can the Neapolitan Chord Have?
In Texted Music
In Untexted Music
Extending, Tonicizing, and Modulating with the Neapolitan Chord
Illustrations to Play
Tonicizing the Neapolitan Chord
The Neapolitan Chord as a Pivot Chord
The Pivot Chord Begins as the Neapolitan in the Original Key
The Pivot Chord Becomes the Neapolitan in the New Key
Terms and Concepts
What's Next?
CHAPTER 24 Augmented-Sixth Chords
Overview
What is an Augmented-Sixth Chord?
Some Analytical Detective Work
Augmented-Sixth Chords in the Major Mode
What are the Three Types of Augmented-Sixth Chords?
Identifying Augmented-Sixth Chords in Context
(?)VI and the Augmented-Sixth Chord
Chromaticized Bass Descent
Predominant Voice Exchange
The German Diminished-Third Chord
The Augmented-Sixth Chord in Tonicizations
The Augmented-Sixth Chord in Modulations
Reinforcing the New Key
Acting as the Pivot Chord: Enharmonic Reinterpretation
Terms and Concepts
What's Next?
PART 6: LARGE FORMS
CHAPTER 25 Ternary Form
Overview
How Is Ternary Form Different from Rounded Binary Form?
Connective Tissue: Introduction, Transition, Retransition, Coda, and Codetta
The Reconciliatory Coda
Forms Within a Form: Compound Ternary
Da Capo Aria
Minuet-Trio Form
Terms and Concepts
What's Next?
CHAPTER 26 Rondo Form
Overview
What Is a Rondo?
A Rondo Rondeau from the Early Eighteenth Century
A Rondo from the Twentieth Century
Transitions, Retransitions, Codas, and Codettas
Compound Rondo Form
Two Strategies for Avoiding Boredom in a Rondo
Shortening Later Refrains
Ornamenting Later Refrains
Seven-Part Rondo
Terms and Concepts
What's Next?
CHAPTER 27 Sonata Form
Overview
A Narrative of Reconciliation
Exposition: Establishing the Conflict
Development: Ramping Up the Tension
Recapitulation: Finding Reconciliation
Toying with Our Expectations: Some Sonata-Form Shenanigans
Before the Beginning: The Slow Introduction
Two Keys, but One Theme: Monothematic Sonata Form
Is This the Recap? No, it's a False Recap!
Can the Recapitulation Begin Away from the Tonic?
Sonata-Form Codas: Tending to Unfinished Business
Sonata-Rondo Form
Terms and Concepts
What's Next?
PART 7: NEAR, AT, AND PAST THE EDGES OF TONALITY
CHAPTER 28 Tonal Ambiguity and Symmetrically Constructed Harmonies
Overview
What Is Ambiguity?
A Musical Type of Ambiguity: The Diminished Seventh Chord
Why Does This Work?
Tonally Ambiguous Beginnings and Endings
Off-Tonic Beginnings
Endings Can Be Ambiguous, Too: The Reciprocal Process
Familiar Sounds in Unfamiliar Contexts: Common-Tone Chords
Common-Tone Diminished Seventh Chords
Common-Tone Augmented-Sixth Chords
Unfamiliar Sounds in Familiar Contexts: Altered Dominant Seventh Chords and Augmented Triads
Altered Dominant Seventh Chords
Augmented Triads
Terms and Concepts
What's Next?
CHAPTER 29 Symmetry Stretches Tonality: Chromatic Sequences and Equal Divisions of the Octave
Overview
Tonal Music's Paradox of Asymmetry
Symmetrical vs. Asymmetrical Scales
Symmetrical vs. Asymmetrical Chords
Symmetrical vs. Asymmetrical Tonal Paths
How Are Diatonic Sequences and Chromatic Sequences Different?
Three Versions of an Ascending-Seconds Sequence: Diatonic, Diatonic with Applied Chords, and Chromatic
Three Versions of a Descending-Seconds Sequence: Diatonic, Diatonic with Applied Chords, and Chromatic
Recomposing Sequences
Extending Dissonant Harmonies with Chromatic Voice Exchange
The Omnibus
Equal Divisions of the Octave
What Do Equal Divisions of the Octave Sound Like?
Terms and Concepts
What's Next?
CHAPTER 30 Centricity, Extended and Non-Tertian Sonorities, and Collections
Overview
What Is Centricity?
Achieving Closure in Centric Music
Adding Colors to Tertian Chords
Added Sixths
Sharp-Ninth Chords
Non-Tertian Sonorities: Stacking by Fourths and Fifths
Collections
Seven-Note Collections: Diatonic Modes
A Five-Note Collection: Pentatonic
Six-Note Collections
#1: The Whole-Tone Collection
#2: The Hexatonic Collection
An Eight-Note Collection: Octatonic
Terms and Concepts
What's Next?
CHAPTER 31 Analysis with Sets
Overview
Diving in Analytically
Pitch Space and Pitch-Class Space
Intervals in Pitch Space
Intervals in Pitch-Class Space
Pitch-Class Sets
Arranging a Pitch-Class Set in Normal Order
Sets Related by Transposition
Inversion in Pitch Space
Inversion in Pitch-Class Space
What Is Invariance?
Interval-Class Vector
What Do These Interval-Class Vectors Tell Us?
Combining Transposition and Inversion: Set Class and Prime Form
Finding a Set's Prime Form
Terms and Concepts
What's Next?
CHAPTER 32 Metrical and Serial Techniques
Overview
Metrical Irregularity
Changing Meters
Meters that Accommodate Rhythms (as Opposed to Vice Versa)
Additive Rhythm
Perceived vs. Notated Meter
Polymeter
Twelve-Tone Music
Deploying a Row in a Piece of Music
Finding the Row
Studying the Row's Properties
Studying How the Piece Arranges the Row
Transforming a Row: From 1 Row to 48 Rows
The Twelve-Tone Matrix
Three Particular Twelve-Tone Rows
Anton Webern, Concerto for Nine Instruments, op. 24
Contour in Pitch-Class Space: Building the Row
Contour in Pitch Space: Orchestrating the Row
Samuel Barber, Nocturne, op. 33
Alban Berg, Lyric Suite
Terms and Concepts
GLOSSARY
CREDITS
INDEX OF TERMS AND CONCEPTS
INDEX OF MUSICAL EXAMPLES AND EXERCISES
