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Preface

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• 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: vii°6 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: vii°7

• Analytical extension: Invertible counterpoint

• Invertible counterpoint below the music's

• surface

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