Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint

Contents

• Preface
• Setting the Stage
• Part One: Contextualizing Theory and Analysis
• Fundamentals
• Chapter 1: Musical Time and Space
• The metrical realm
• Accent in music
• Temporal accents
• Non-temporal accents
• Metrical disturbance
• The pitch realm
• Pitches and pitch classes
• Scales
• Keys
• Intervals
• Consonance and dissonance
• Melody: Characteristics and writing
• Chapter 2: Harnessing Musical Time and Space
• Species counterpoint
• First-species (1:1) counterpoint
• Contrapuntal motions
• Rules and guidelines
• Second-species (2
• 1) counterpoint
• Rules and guidelines
• Adding voices: Triads and seventh chords
• Triads
• Figured bass
• Triads and the scale: Harmonic analysis
• Seventh chords
• Musical texture
• Chapter 3: Making Choices: When Harmony, Melody, and Rhythm Merge
• Tonal hierarchy in music
• Tones of figuration
• Melodic fluency
• Part Two: Diatonic Harmony: Functions, Expansions, and the Phrase Model
• Chapter 4: Composition and Analysis: Using I, V, and V7
• Tonic and dominant as tonal pillars and introduction to voice leading
• The cadence
• Introduction to voice leading
• Texture and register
• Spacing
• Summary of voice-leading rules and guidelines
• The dominant seventh and chordal dissonance
• Part writing with the dominant seventh chord
• Analytical extension: The interaction of harmony, melody, meter, and rhythm
• Embellishment
• Reduction
• Second-level analysis
• Chapter 5: Contrapuntal Expansions of Tonic and Dominant
• Contrapuntal expansions with first inversion triads
• Chordal leaps in the bass: I6 and V6
• Neighboring tones in the bass: V6
• Structural and subordinate harmonies
• Passing tones in the bass: viiDG6 and IV6
• Tonic expansion with arpeggiating bass: IV6
• Contrapuntal expansions with seventh chords
• V7 and its inversions
• Voice leading inversions of V7
• Leading-tone seventh chords: viiDG7
• Analytical extension: Invertible counterpoint
• Invertible counterpoint below the music's
• surface
• Chapter 6: The Pre-Dominant, Phrase Model, and Additional Embellishments
• The pre-dominant function
• The subdominant (IV in major
• iv in minor)
• The supertonic (ii in major
• iiDG in minor)
• Part writing pre-dominants
• Extending the pre-dominant
• Introduction to the phrase model
• Accented and chromatic dissonances
• Accented and Chromatic passing tones
• Accented and Chromatic neighbor tones
• Appoggiatura
• Suspension
• Labeling suspensions
• Writing suspensions
• Anticipation
• Pedal
• Analytical extension: Revisiting the subdominant
• Contrapuntal expansion with IV
• Plagal cadence
• Part Three: Elaborating the Phrase Model and Combining Phrases
• Chapter 7: Six-Four Chords, Non-Dominant Seventh Chords, and Refining the Phrase Model
• Six-Four Chords
• Unaccented six-four chords
• Accented six-four chords
• Writing six-four chords
• Summary of contrapuntal expansions
• Non-dominant seventh chords: IV7 (IV65) and ii7 (ii65)
• Partwriting non-dominant seventh chords
• Embedding the phrase model
• Analytical extension: Expanding the pre-dominant
• Chapter 8: The Submediant and Mediant Harmonies
• Submediant (vi in major
• VI in minor):
• As bridge in the descending third
• progression
• In the descending circle of fifths progression
• As tonic substitute in the ascending second
• progression
• As pre-dominant
• Voice leading for the submediant
• The step descent in the bass
• Mediant (iii in major
• III in minor)
• A special case: Preparing the III chord in
• minor
• Voice leading for the mediant
• General summary of harmonic progression
• Analytical extension: The back-relating dominant
• Chapter 9: The Period, Double Period, and Sentence
• The period
• Types of periods
• Period labels
• The double period
• The sentence
• Analytical extension: Modified periods
• Chapter 10: Harmonic Sequences: Concepts and Patterns
• Components and types of sequences
• The descending fifths sequence (-5/+4)
• The (-5/+4) sequence in inversion
• The Pachelbel or descending 5-6
• sequence
• The (-4/+2) sequence in inversion
• The Ascending Fifths sequence (+5/-4)
• The Ascending 5-6 Sequence: (-3/+4)
• Sequences with diatonic seventh chords
• Writing sequences
• Analytical extension: Melodic sequences and
• compound melody
• Chapter 8: The Submediant and Mediant Harmonies
• Submediant (vi in major
• VI in minor):
• As bridge in the descending third
• progression
• In the descending circle of fifths progression
• As tonic substitute in the ascending second
• progression
• As pre-dominant
• Voice leading for the submediant
• The step descent in the bass
• Mediant (iii in major
• III in minor)
• A special case: Preparing the III chord in
• minor
• Voice leading for the mediant
• General summary of harmonic progression
• Analytical extension: The back-relating dominant
• Chapter 9: The Period, Double Period, and Sentence
• The period
• Types of periods
• Period labels
• The double period
• The sentence
• Analytical extension: Modified periods
• Chapter 10: Harmonic Sequences: Concepts and Patterns
• Components and types of sequences
• The descending fifths sequence (-5/+4)
• The (-5/+4) sequence in inversion
• The Pachelbel or descending 5-6
• sequence
• The (-4/+2) sequence in inversion
• The Ascending Fifths sequence (+5/-4)
• The Ascending 5-6 Sequence: (-3/+4)
• Sequences with diatonic seventh chords
• Writing sequences
• Analytical extension: Melodic sequences and
• compound melody
• Part Four: Chromaticism and Larger Forms
• Chapter 11: Applied Chords and Tonicization
• Applied dominant chords
• Applied chords in inversion
• Voice leading for applied dominant chords
• Applied leading-tone chords
• Extended tonicization
• Analytical extension: Sequences with applied chords
• Chapter 12: Modulation and Binary Form
• Modulation
• Closely related keys
• Analyzing modulations
• Writing modulations
• Modulation in the larger musical context
• The sequence as a tool in modulation
• Binary form
• Summary of binary form types
• Analytical extension: Binary form and Baroque dance
• suites
• Chapter 13: Expressive Chromaticism: Modal Mixture and Chromatic Modulation
• Modal mixture
• Altered pre-dominant harmonies: iv and iiDG
• Altered submediant harmony: bVI
• Altered tonic harmony: i
• Altered mediant harmony: bIII
• Voice leading for mixture harmonies
• Plagal motions
• Modal mixture, applied chords, and other chromatic harmonies
• Expansion of modal mixture harmonies: Chromatic
• modulation
• Chromatic pivot-chord modulations
• Writing chromatic pivot-chord modulations
• Unprepared and common-tone
• chromatic modulations
• Analytical extension: Modal mixture and text-music
• relations
• Chapter 14: The Neapolitan and Augmented Sixth Chords
• The Neapolitan chord
• Writing the Neapolitan chord
• Other uses for the Neapolitan chord
• The augmented sixth chord
• Types of augmented sixth chords
• Writing augmented sixth chords
• bVI and the Ger 65 chord
• The augmented sixth chord as a pivot chord
• Analytical extension: Prolongation with bII and +6
• chords
• Augmented sixth chords as part of PD
• expansions
• Chapter 15: Ternary and Sonata Forms
• Ternary form
• Transitions and retransitions
• Da capo form: Compound ternary form
• Minuet-trio form
• Sonata
• The binary model for sonata form
• Transition
• Closing section
• Development and retransition
• Recapitulation and coda
• Analytical extension: Motivic expansion
• Exposition
• Development
• AppendixA: Additional Formal Procedures
• Subphrases and composite phrases
• Variation techniques
• Ternary form and the nineteenth-century character
• piece
• Rondo
• Further characteristics of sonata form
• Appendix B: Glossary of Abbreviations
• Appendix C: Terminological Equivalents
• Index of Terms and Concepts
• Index of Musical Examples and Exercises