Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint

Contents

• Preface
• Chapter 1 : Musical Time and Space Assignment
• 1. 1: Rhythm, Meter, and Accent Assignment
• 1. 2: More Metrical Issues, Scales, and Key Signatures Assignment
• 1. 3: More Scales, Intervals Assignment
• 1. 4: More intervals and Melody
• Chapter 2 : Harnessing Musical Time and Space Assignment
• 2. 1: Contrapuntal Motions and 1:1 Counterpoint Assignment
• 2. 2: 1:1 and 2:1 Counterpoint Assignment
• 2. 3: 2:1 Counterpoint, Triads Assignment
• 2. 4: Triads and Figured Bass Assignment
• 2. 5: Figured Bass and Harmonic Analysis Assignment
• 2. 6: Seventh Chords Assignment
• 2. 7: Seventh Chords, Texture
• Chapter 3 : Making Choices: When Harmony, Melody, and Rhythm Merge Assignment
• 3. 1: Tones of Figuration and Harmonic Analysis Assignment
• 3. 2: Melodic Fluency Assignment
• 3. 3: Embellishment
• Chapter 4 : Composition and Analysis: Using I, V, and V7 Assignment
• 4. 1: Writing and Analyzing I and V Assignment
• 4. 2: More Writing of Tonic and Dominant Assignment
• 4. 3: V7
• Chapter 5 : Contrapuntal Expansions of Tonic and Dominant Assignment
• 5. 1: Six-Three Chords Assignment
• 5. 2: More Six-Threes Assignment
• 5. 3: V7 and viio7 Assignment
• 5. 4: More Seventh Chords
• Chapter 6 : A New Harmonic Function; Additional Melodic and Harmonic Embellishments Assignment
• 6. 1: The Pre-Dominant Assignment
• 6. 2: More Pre-Dominants Assignment
• 6. 3: Accented Tones of Figuration Assignment
• 6. 4: All Tones of Figuration
• Chapter 7 : Six Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model Assignment
• 7. 1: Six-Four Chords Assignment
• 7. 2: More Six-Four Chords and Non-Dominant Seventh Chords Assignment
• 7. 3: More Non-Dominant Seventh Chords Assignment
• 7. 4: Embedded Phrase Models
• Chapter 8 : The Submediant and Mediant Assignment
• 8. 1: The Submediant Assignment
• 8. 2: Submediant and Mediant Assignment
• 8. 3: More Submediant and Mediant Assignment
• 8. 4: Paradigms and Composition
• Chapter 9 : The Period, Double Period, and Sentence Assignment
• 9. 1: Period and Sentence Assignment
• 9. 2: Composition Assignment
• 9. 3: Period, Sentence, and Double Period
• Chapter 10 : Harmonic Sequences: Concepts and Patterns Assignment
• 10. 1: Triadic Sequences Assignment
• 10. 2: More Triadic Sequences Assignment
• 10. 3: Triadic and Seventh Chord Sequences
• Chapter 11 : Applied Chords Assignment
• 11. 1: Spelling, Recognizing, and Writing Applied Chords Assignment
• 11. 2: Applied viio7 Assignment
• 11. 3: Harmonization and Applied Chord Sequences Assignment
• 11. 4: Extended Tonicization
• Chapter 12 : Modulation and Binary Form Assignment
• 12. 1: Closely Related Keys, Pivots, and Modulation Assignment
• 12. 2: More Modulation; More Writing Assignment
• 12. 3: Two-Voice Modulations, Modulation, and Binary Form Assignment
• 12. 4: Modulation and Binary Form Assignment
• 12. 5: Binary Form
• Chapter 13 : Expressive Chromaticism: Modal Mixture and Chromatic Tonicization Assignment
• 13. 1: Melodic and Harmonic Mixture Assignment
• 13. 2: Plagal motions Assignment
• 13. 3: Chromatic Tonicization Assignment
• 13. 4: Prepared and Common-Tone Chromatic Modulations
• Chapter 14 : The Neapolitan and Augmented Sixth Chords Assignment
• 14. 1: Identifying and Writing the Neapolitan Chord Assignment
• 14. 2: More Neapolitan Assignment
• 14. 3: Tonicization of the Neapolitan Assignment
• 14. 4: Augmented Sixth Chords Assignment
• 14. 5: More Augmented Sixth Chords Assignment
• 14. 6: More Writing of Augmented Sixth Chords, +6 in Modulation
• Chapter 15 : Ternary and Sonata Forms Assignment
• 15. 1: Analysis of Ternary Assignment
• 15. 2: Ternary and Binary Forms Assignment
• 15. 3: Sonata Keyboard Exercises