- Preface to the Fifth Edition Mark DeVoto
- Introduction to the First Edition (1941) Walter Piston
- Tonal Harmony in Common Practice
- Materials of Music: Scales and Intervals
- Intervals Measured by Scales
- Scale Degrees
- Classification of Intervals
- Compound Intervals
- Inversion of Intervals
- Enharmonic Intervals
- Triads
- Chord Factors
- Triads on the Scale Degrees
- Kinds of Triads
- Inversions
- Consonant and Dissonant Intervals
- Triads of the Major Mode
- Four-Part Writing
- Doubling
- The Leading-Tone Triad
- Spacing
- Close and Open Position
- Notation
- Harmonic Progression in the Major Mode: Principles of Voice Leading
- Table of Usual Root Progressions
- Connection of Chords: Two Rules of Thumb
- Improving the Exercise: Beyond the Rules of Thumb
- Conjunct and Disjunct Melodic Motion
- Rules of Motion
- The Direct Octave and Fifth
- Treatment of the Leading Tone
- Overlapping and Crossing
- Similar Motion of Four Voices
- Quick Summary of Motion Rules
- Working on the Exercises
- The Minor Mode
- Scale Differences
- Triads in the Minor Mode
- Harmonic Progression
- Voice Leading
- Tonality and Modality
- Modal Scales
- Tonal Functions of the Scale Degrees
- Dominant Harmony
- Tonal Strength of Chords
- Interchangeability of Modes
- The Picardy Third
- Relationship of Relative Major and Minor: The Secondary Dominant Principle
- Chromaticism and Tonality
- Arpeggiation of Chord Factors
- The First Inversion—The Figured Bass
- Arabic-Numeral Notation
- Doubling
- General Effect of the First Inversion
- Voice Leading
- Consecutive First-Inversion Triads
- Usage of the Various Triads
- Keyboard Harmony and Figured Bass
- Function and Structure of Melody
- Uses of Melody
- Shape
- The Motive
- The Phrase
- Harmony in Melody—Polyphonic Melody
- Melodic Variation
- Approach to Melodic Analysis
- Nonharmonic Tones
- Analysis of the Melody
- Melodic Skips
- Sustained Tones
- Available Chords
- Contrapuntal Approach: Melody and Bass
- Use of Formulae
- Harmonization and Nonharmonic Tones
- Harmonization of a Melody
- Analysis of the Melody
- Melodic Skips
- Sustained Tones
- Available Chords
- Contrapuntal Approach: Melody and Bass
- Use of Formulae
- Harmonization and Nonharmonic Tones
- The Six-Four Chord
- The Cadential Six-Four Chord
- The Auxiliary Six-Four Chord
- The Passing Six-Four Chord
- The Arpeggiating Six-Four Chord and Other Forms
- Cadences
- The Authentic Cadence
- Perfect and Imperfect Cadences
- The Half Cadence
- The Plagal Cadence
- Downbeat and Upbeat Cadences
- The Deceptive Cadence
- The Phrygian Cadence
- Exceptional Cadential Types
- Harmonic Rhythm
- Rhythmic Texture of Music
- Harmonic Rhythm and Melodic Rhythm
- Frequency of Root Change
- Strength of Harmonic Progressions
- Dynamic Indications
- Nonharmonic Chords
- Harmonic Structure of the Phrase
- Unity and Variety
- Number of Measures in the Phrase
- The Phrase Beginning
- Connection of Phrases
- Sequence
- Phrase and Period: Antecedent and Consequent
- Form of the Short Piece
- Analysis of Short Pieces
- Application
- Modulation
- Psychological Necessity for Change of Key
- Elementary Relationships: Three Stages
- Examples of Modulating Phrases
- Levels of Tonality: Tonicization and Intermediate Modulation
- The Modulation Chain
- Related Keys
- Interchange of Modes
- Exploration of Means
- Enharmonic Changes
- Abrupt Modulations
- Pivot Tones
- The Dominant Seventh Chord
- Origin of the Harmonic Dissonance
- Regular Resolution
- The First Inversion
- The Second Inversion
- The Third Inversion
- Secondary Dominants
- Importance and Definition of the Secondary Dominant Function
- Resolution
- Using the Secondary Dominants
- Cross-Relation
- V of II
- V of III
- V of IV
- V of V
- V of VI
- V of VII.
- Irregular Resolutions
- Definitions of Irregularities
- Variety of Irregular Resolutions
- Irregular Resolutions of the Secondary Dominants
- Musical Texture
- Vocal and Instrumental Texture
- Examples of Homophonic Texture
- Ensemble Texture
- The Orchestra
- Reduction of Textures
- Problems in Harmonic Analysis
- Purpose of Analysis
- Extension of the Secondary Dominant Principles: Dual-Function Chords
- Rules of Voice Leading: Some Exceptional Circumstances
- Score Reading
- The Sequence
- The Initial Pattern
- Harmonic Rhythm
- Length of the Sequence
- Degree of Transposition
- The Nonmodulating Sequence
- Secondary Dominants in the Sequence
- The Modulating Sequence
- The Sequences in Harmonization
- Keyboard Practice
- The Diminished Seventh Chord
- Definitions
- Enharmonic Equivalents
- Resolution
- Inversions
- The Secondary Dominants
- Irregular Resolution
- Consecutive Diminished Sevenths
- Modulation Using the Diminished Seventh Chord
- The Incomplete Major Ninth
- The Half-Diminished Seventh Chord
- Inversions
- Irregular Resolution
- Secondary Dominants
- Modulation
- Non-Dominant Harmony—Seventh Chords
- Function of Dissonant Non-Dominant Chords
- Comparative Structure of Seventh Chords
- The Nonharmonic Element
- Resolution
- The Tonic Seventh
- The Supertonic Seventh
- The Mediant Seventh
- The Subdominant Seventh
- The Submediant Seventh
- The Leading-Tone Seventh
- Nondominant Sevenths in Sequence
- Modulation
- Neighbor-Note Harmony: The Triad with Added Sixth
- The Half-Diminished Seventh Chord
- Ninth, Eleventh and Thirteenth Chords
- The Complete Dominant Ninth
- Spacing
- Inversions
- Secondary Dominants
- Modulation
- Nondominant Ninth Chords
- Appogiature with Delayed Resolution
- The Unresolved Appogiatura
- Eleventh and Thirteenth
- Chromatically Altered Chords: The Raised Supertonic and Submediant
- II7 and VI7 with Raised Root and Third
- Notation
- Rhythm
- Cross-Relation
- Mode
- Irregular Resolution
- Modulation
- The Neapolitan Sixth
- Definition, Resolution, Preparation, and Doubling
- Secondary Relationships
- V of the Neapolitan
- Intermediate Modulation
- Modulation with the Neapolitan
- Augmented Sixth Chords
- Origin as Secondary Dominants
- Definitions
- Resolution
- Inversions
- Irregular Resolutions
- Modulation
- Exceptional Forms
- Other Chromatic Chords
- Enharmonic Restrictions of Altered Scale Degrees
- The Augmented Fifth
- The Diminished Fifth
- The Raised and Lowered Fifth
- Appogiatura Chords
- Characteristic Chromaticism
- Materials of Music: Scales and Intervals
- After Common Practice
- Harmonic Practice Historically Considered
- Extensions of Common Practice
- Modal Scales and Modal Harmony
- The Decline of Dominant Harmony
- Remote Tonal Relationships
- The Reevaluation of Counterpoint
- The Independent Vertical Sonority
- New Definitions of Tonality
- Scalar and Chordal Types
- The Pentatonic Scale
- The Whole-Tone Scale
- Artificial Scales
- Parallel and Antiparallel Harmony
- Tertial Harmony
- Quartal Harmony
- Quintal Harmony
- Secondal Harmony
- Pandiatonicism
- Polychords and Polytonality
- Modal Mixture
- The Inverted Ninth Chord
- Appogiatura Chords
- Extended Chromaticism
- Tonality-Supporting and Tonality-Weakening Elements
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