Music Theory and Composition

Preface
A Note for Instructors
A Student’s Introduction
Acknowledgments

Preludes – Rudiments
Prelude 1 – Notation of Sound
Prelude 2 – Meter
Prelude 3 – Scales and Key Signatures
Prelude 4 – Intervals
Prelude 5 – Triads
Prelude 6 – Seventh Chords

Part I – Melody
Chapter 1 – Melodic Construction
Chapter 2 – Major Key Functionality
Chapter 3 – Minor Key Functionality
Chapter 4 – Chromaticism in Melodies

Part II – Species Counterpoint to Chorale Style
Chapter 5 – Background for Species
Chapter 6 – First Species in Two Voices
Chapter 7 – Second and Third Species in Two Voices
Chapter 8 – Fourth Species in Two Voices
Chapter 9 – Fifth Species (Florid Counterpoint) in Two Voices
Chapter 10 – Two-Voice Counterpoint
Chapter 11 – Three Voices and Chords
Chapter 12 – First Species in Three Voices
Chapter 13 – Second and Third Species in Three Voices
Chapter 14 – Fourth Species in Three Voices
Chapter 15 – Fifth Species (Florid Counterpoint) in Three Voices
Chapter 12-15 Redux
Chapter 16 – Four Voice Counterpoint and Chorale Style
Chapter 17 – Figured Bass
Chapter 18 – Other Dissonances
Chapter 19 – The Purpose of Chorale Style

Part III – Diatonic Harmony to Form
Chapter 20 – Roman Numerals and Harmonic Progressions
Chapter 21 – Tonic and Dominant: The Fundamental Relationship
Chapter 22 – Predominants: The Basic Progression
Chapter 23 – Intensifying the Motion: Adding Dissonance

1. Sevenths
2. Cadential 6/4

Chapter 24 – Submediant
Chapter 25 – Mediant
Chapter 26 – Harmonic Rhythm
Chapter 27 – Harmonizations
Chapter 28 – Linear Chords
Chapter 29 – Sequences
Chapter 30 – Tonicization
Chapter 31 – Modulation
Chapter 32 – Phrase-level Analysis
Chapter 33 – Small Forms

Part IV – Color Chords and Bold Chromaticism
Chapter 34 – Modal Mixture
Chapter 35 – Neapolitan
Chapter 36 – Augmented Sixth Chords
Chapter 37 – Altered Dominants
Chapter 38 – Enharmonic Reinterpretation
Chapter 39 – Third Relations

Part V – Popular Music
Chapter 40 – Introduction to Popular Music
Chapter 41 – General Stylistic Elements
Chapter 42 – Sonorities from Jazz: Stable Sevenths, Extended Tertian Chords, and Added
Note Harmonies
Chapter 43 – Lead Sheet Notation
Chapter 44 – Pop Progressions Following Classical Diatonic Functions
Chapter 45 – Blues and the Retrogression
Chapter 46 – Mediant and Ascending Thirds
Chapter 47 – Supertonic, Linear Harmonic Motion, and Diatonic Summary
Chapter 48 – Chromaticism from Classical Music
Chapter 49 – Chromaticism from Jazz – Tritone Substitution
Chapter 50 – Pop Chromaticism 1: L and ?VII
Chapter 51 – Pop Chromaticism 2: Quality Change
Chapter 52 – Three Analyses

Appendices
Appendix A – Melodies for Study
Appendix B – Cantus Firmi and Figured Basses for Exercises
Appendix C – Church Modes
Appendix D – Extended Tertian Harmony

Glossary
About the Author