Music theory essentials : a streamlined approach to fundamentals, tonal harmony, and post-tonal materials /

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<P>Table of Contents</P><P>Preface</P><P>Acknowledgements</P><B><P>Part I: Fundamentals</P></B><P>Chapter 1: Pitch and Notation</P><P>Chapter 2: Intervals</P><P>Chapter 3: Scales and Melody</P><P>Chapter 4: Keys</P><P>Chapter 5: Chords</P><P>Chapter 6: Musical Time</P><P>Chapter 7: Introduction to Voice Leading and Counterpoint</P><B><P>Part II: Diatonic Harmony</P></B><P>Chapter 8: Four-Part Voice Leading</P><P>Chapter 9: Nonchord Tones</P><P>Chapter 10: Tonal Function, Syntax, and Prolongation</P><P>Chapter 11: Triad Inversions </P><P>Chapter 12: Seventh Chords</P><P>Chapter 13: Motive, Phrase, Cadence, and Period Structure</P><P>Chapter 14: Harmonic Sequences</P><B><P>Part III: Chromatic Harmony</P></B><P>Chapter 15: Secondary Dominants and Tonicization</P><P>Chapter 16: Modulation I: Phrase Modulation and Diatonic Pivot Chords</P><P>Chapter 17: Modal Mixture</P><P>Chapter 18: The Neapolitan and Augmented Sixth Chords</P><P>Chapter 19: Modulation II: Chromatic Pivot Chords, Enharmonic Reinterpretation, and Common-Tone Modulation</P><P>Chapter 20: Dominant Ninth Chords, Altered Dominants, and Embellishing Chords</P><B><P>Part IV: Post-Tonal and Popular Materials</P></B><P>Chapter 21: The Dissolution of the Tonal System</P><P>Chapter 22: New Pitch Collections</P><P>Chapter 23: Centricity and Harmony</P><P>Chapter 24: Set Theory</P><P>Chapter 25: Serialism</P><P>Chapter 26: Introduction to Jazz and Pop Harmony</P><I><P>Appendix: List of Set Classes</P><P>Credits</P><P>Index of Musical Examples</P><P>Index of Terms and Concepts</P></I><P></P>Description based on CIP data; resource not viewed.