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| Fundamentals | |
| Elements of Pitch | |
| The Keyboard and Octave Registers | |
| Notation of the Staff | |
| The Major Scale | |
| The Major Key Signatures | |
| Minor Scale | |
| Minor Key Signatures | |
| Scale Degree Names | |
| Intervals | |
| Perfect, Major, and Minor Intervals | |
| Augmented and Diminishe... MORE | |
| 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 | |
| Diatonic Triads in Major | |
| The Minor Scale | |
| 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 Singe Triad | |
| Parallel Motion | |
| Summary | |
| Variations | |
| Root Position Part Writing | |
| Introduction | |
| Root Position Part Writing with Repeated Roots | |
| Root Position Part Writing with Roots a 4th (5th) Apart | |
| Root Position Part Writing with Roots a 3rd (6th) Apart | |
| Root Position Part Writing with Roots a 2nd (7th) Apart | |
| Instrumental 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 | |
| More About Harmonic Sequences | |
| Harmonizing a Simple Melody | |
| Conclusion | |
| Summary | |
| Triads in First Inversion | |
| Introduction | |
| Bass Arpeggiation | |
| Substituted First Inversion Triads | |
| Inversions in Lead Sheets | |
| Parallel Sixth Chords | |
| Part Writing First Inversion Triads | |
| 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, Periods, and Sentences | |
| Musical Form | |
| Cadences | |
| Cadences and Harmonic Rhythm | |
| Motives and Phrases | |
| Mozart: "An die Freude" | |
| Period Forms | |
| The Sentence | |
| Summary | |
| Non Chord Tones 1 | |
| Introduction | |
| Classification of Non-Chord Tones | |
| Passing Tones | |
| Neighboring Tones | |
| Suspensions and Retardations | |
| Embellishing a Simple Texture | |
| Figured Bass and Lead Sheet Symbols | |
| 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 Approach to the 7th | |
| 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 | |
| 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 and Tonicization | |
| 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 Forms with a Ternary Design | |
| Sonata Form | |
| Rondo Form | |
| Summary | |
| Variations | |
| Chromaticism 2 | |
| Mode Mixture and the Neapolitan | |
| Introduction | |
| Borrowed Chords in Minor | |
| Borrowed Chords in Major | |
| The Use of B-Flat 6 | |
| Other Borrowed Chords in Major | |
| Modulations Involving Mode Mixture and the Neapolitan | |
| Summary | |
| Variations | |
| Augmented Sixth Chords | |
| The Interval of the Augmented Sixth | |
| The Italian Augmented Sixth Chord | |
| The French Augmented Sixth Chord | |
| The German Augmented Sixth Chord | |
| Other Uses of the Conventional Augmented Sixth Chords | |
| Other Bass Positions | |
| Summary | |
| Variations | |
| Enharmonic Spellings and Enharmonic Modulations | |
| Enharmonic Spellings | |
| Enharmonic Reinterpretation | |
| Enharmonic Modulations Using the Major-Minor Seventh Sonority | |
| Enharmonic Modulations Using the Diminished Seventh Chord | |
| Other Examples of Enharmonicism | |
| Summary | |
| Variations | |
| Further Elements of the Harmonic Vocabulary | |
| Introduction | |
| The Dominant with a Substituted 6th | |
| The Dominant with a Raised 5th | |
| Ninth, Eleventh, and Thirteenth Chords | |
| The Common-Tone Diminished Seventh Chord | |
| Simultaneities | |
| Coloristic Chord Progressions | |
| Summary | |
| Tonal Harmony in the Late Nineteenth Century | |
| Introduction | |
| More About Mediants | |
| Mediant Chains and Other Combinations | |
| Counterpoint and Voice Leading | |
| Sequences and Other Systematic Procedures | |
| Summary | |
| An Introduction to Twentieth-Century Music | |
| Materials and Techniques | |
| Introduction | |
| Impressionism | |
| Scale Materials | |
| The Diatonic Modes | |
| Pentatonic Scales | |
| Synthetic Scales | |
| Chord Structure | |
| Extended Tertian Harmony | |
| Polyharmony | |
| Chord/Scale Connections | |
| Quartal and Secundal Harmony | |
| Other Concepts | |
| Parallelism | |
| Pandiatonicism | |
| Rhythm and Meter | |
| Summary | |
| Post-Tonal Theory | |
| Introduction | |
| Basic Atonal Theory | |
| Normal Form | |
| Equivalence Relations and Mod 12 | |
| Transposition (Tn) and Inversion (TnI) | |
| Set Class and Prime Form | |
| Interval Vector | |
| Twelve-Tone Serialism | |
| Integral Serialism | |
| Summary | |
| New Directions | |
| Introduction | |
| Explorations of Texture, Timbre, and Tuning | |
| Indeterminacy | |
| Minimalism | |
| Electronic and Computer Music | |
| Summary and Forward Look | |
| Instrumental Ranges and Transpositions | |
| Lead-Sheet Symbols | |
| Set Class List | |
| Answers to Self-Tests | |
| Index of Music Examples | |
| Subject Index | |
| Index of Music Examples | |
| Name Index | |
| Subject Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |