About the authors -- Preface -- To the student -- Fundamentals -- Elements of pitch -- The keyboard and octave registers -- Notation of the staff -- The major scale -- The major key signatures -- Minor key signatures -- Scale degree names -- Intervals -- Perfect, major, and minor intervals -- Inversion of intervals -- Consonant and dissonant intervals -- Summary -- Variations -- 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 -- 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 -- Summary -- Variations.

Diatonic chords in major and minor keys -- Introduction -- The minor scale -- Diatonic triads in major -- Diatonic triads in minor -- Diatonic seventh chords in major -- Diatonic seventh chords in minor -- Summary -- Variations -- Diatonic triads -- Principles of voice leading -- Introduction -- The melodic line -- Notating chords -- Voicing a single triad -- Parallel motion -- Summary -- Variations -- Root position part writing -- Introduction -- Root position part writing with repeated roots -- Four-part textures -- Three-part textures -- Root positions part writing with roots a 4th (5th) apart -- Four-part textures -- Three-part textures -- Root position part writing with roots a 3rd (6th) apart -- Four-part textures -- Three-part textures -- Root position part writing with roots a 2nd (7th) apart -- Four-part textures -- Three-part textures -- Instrument ranges and transpositions -- Summary.

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 -- Harmonizing a simple melody -- Conclusion -- Summary -- Triads in first inversion -- Introduction -- Bass arpeggiation -- Substituted first inversion triads -- Parallel sixth chords -- Part writing first inversion triads -- Four-part textures -- Three-part textures -- Soprano-bass counterpoint -- Summary -- Variations -- Triads in second inversion -- Introduction -- Bass arpeggiation and the melodic bass -- The cadential six-four -- The passing six-four -- The pedal six-four -- Part writing for second inversion triads -- Summary.

Cadences, phrases, and periods -- Musical form -- Cadences -- Cadences and harmonic rhythm -- Motives and phrases -- Mozart : "An die Freude" -- Period forms -- Summary -- Non chord tones 1 -- Introduction -- Classification of non-chord tones -- Passing tones -- Neighboring tones -- Suspensions and retardations -- Figured bass and lead sheet symbols -- Embellishing a simple texture -- Summary -- Non-chord tones 2 -- Appoggiaturas -- Escape tones -- The neighbor group -- Anticipations -- The pedal point -- Special problems in the analysis of non-chord tones -- Summary -- Variations -- Diatonic seventh chords -- The V7 chord -- Introduction -- General voice-leading considerations -- The V7 in root position -- The 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 -- The approach to the 7th -- Summary -- The II7 and VII7 chords -- Introduction -- The II7 chord -- The VII7 chord in major -- The VII7 chord in minor -- Summary.

Other diatonic seventh chords -- The IV7 chord -- The VI7 chord -- The I7 chord -- The III7 chord -- Seventh chords and the circle-of-fifths progression -- Summary -- Chromaticism 1 -- Secondary functions 1 -- Chromaticism and altered chords -- Secondary functions -- Secondary dominant chords -- Spelling secondary dominants -- Recognizing secondary dominants -- Secondary dominants in context -- Summary -- Variations -- 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 -- Modulations using diatonic common chords -- Modulation and change of key -- Modulation and tonicization -- Key relationships -- Common-chord modulation -- Analyzing common-chord modulation -- Summary -- Some other modulatory techniques -- Altered chords as common chords -- Sequential modulation -- Modulation by common tone -- Monophonic modulation -- Direct modulation -- Summary.

Binary and ternary forms -- Formal terminology -- Binary forms -- Ternary forms -- Rounded binary forms -- 12-bar blues -- Other formal designs -- Summary -- Variations -- Chromaticism 2 -- Mode mixture -- Introduction -- Borrowed chords in minor -- The use of ♭6 in major -- Other borrowed chords in major -- Modulations involving mode mixture -- Summary -- The Neapolitan chord -- Introduction -- Conventional use of the Neapolitan -- Other uses of the Neapolitan -- Summary -- Augmented sixth chords 1 -- The interval of the augmented sixth -- The Italian augmented sixth chord -- The French augmented sixth chord -- The German augmented sixth chord -- Other uses of conventional augmented sixth chords -- Summary -- Augmented sixth chords 2 -- Introduction -- Other bass positions -- Resolutions to other scale degrees -- Resolutions to other chord members -- Other types of augmented sixth chords -- Summary -- Enharmonic spellings and enharmonic modulations -- Enharmonic spellings -- Enharmonic reinterpretation -- Enharmonic modulations using the major-minor seventh sonority -- Enharmonic modulations using the diminished seventh chord -- Summary.

Further elements of the harmonic vocabulary -- Introduction -- The dominant with a substituted 6th -- The dominant with a raised 5th -- Ninth, eleventh, and thirteenth chords -- Simultaneities -- Coloristic chord successions -- Summary -- Late Romanticism and the twentieth century -- Tonal harmony in the late nineteenth century -- Introduction -- Counterpoint -- Treatment of dominant harmony -- Sequence -- Expanded tonality -- Summary -- An introduction to twentieth-century practices -- Introduction -- Impressionism -- Scales -- The diatonic church modes -- Pentatonic scales -- Synthetic scales -- Extended tertian harmony -- Extended tertian harmony and lead sheet symbols -- Polyharmony -- Quartal and secundal harmony -- Parallelism -- Rhythm and meter -- Atonal theory -- The twelve-tone serialism -- Total serialization -- Aleatory or chance music -- Texture and expanded instrumental resources -- Electronic music -- Summary and forward look -- Appendix A : Instrumental ranges and transpositions -- Appendix B : Lead sheet symbols -- Appendix C : Set class list -- Appendix D : Answers to self-tests -- Index of music examples -- Subject index.