Includes indexes.

Spiral bound.

P.B

P.B

Machine generated contents note: 1.The Fundamentals of Meter and Rhythm -- 2.The Fundamentals of Pitch -- 3.Combining Pitches with Meter and Rhythm -- 4.Error Detection and Correction -- 5.More about Meter and Rhythm -- 6.More about Pitch -- 7.Notating Rhythm and Meter -- 8.Notating Pitches -- 9.Combining Rhythm and Pitch Notation -- 10.Dictation in Longer Contexts -- 11.The Fifteen Major Keys -- 12.Ties and the Dotted Beat -- 13.More about Intervals: Number and Quality -- 14.Skips to 7 and 2 as Prefix Neighbors -- 15.Tempo -- 16.Compound Meters -- 17.Introduction to the Minor Mode: Diatonic Minor through Relative and Parallel Approaches -- 18.Lower Chromatic Neighbors -- 19.More about the Minor Mode: Chromatic 6 and 7 Through Modal Borrowing -- 20.Triplets and Duplets -- 21.Introduction to Transcription -- 22.Quadruple Division of the Beat in Simple Meters -- 23.Conducting Pulse Levels Other Than the Notated Beat -- 24.Performance Indications

Note continued: 25.The Dominant Triad; Skips to 5, 7, and 2 -- 26.The Modern C Clefs: Alto and Tenor Clefs -- 27.Skips to 4 and 6 as Prefix Neighbors -- 28.Pentatonicism -- 29.Sextuple Division of the Beat in Compound Meters -- 30.Repeat Signs -- 31.The Subdominant Triad; Skips to 4, 6, and 1 -- 32.Syncopation -- 33.The Dominant Seventh Chord in Melodic Contexts; Skips to 5, 7, 2, and 4 -- 34.Introduction to Harmonic Singing -- 35.Introduction to Harmonic Listening: Harmonic Rhythm and Cadences -- 36.Two-Part Music -- 37.Introduction to Bass-Line Dictation -- 38.Root Position and First Inversion Triads -- 39.Introduction to Voice Leading; Compound Melody -- 40.Triad Qualities -- 41.The Leading-Tone Triad; Skips to 7, 2, and 4 -- 42.The Supertonic Triad; Skips to 2, 4, and 6 -- 43.The Submediant Triad; Skips to 6, 1, and 3 -- 44.The Mediant Triad; Skips to 3, 5, and 7 -- 45.The Dominant Seventh Chord in Harmonic Contexts -- 46.Voice-Leading Techniques

Note continued: 47.Six-Four Figures -- 48.Other Seventh Chords -- 49.Transposition -- 50.The Modes: Relative Approach -- 51.The Modes: Parallel Approach -- 52.Advanced Triplets -- 53.Chromatic Passing Tones -- 54.Skips to Chromatic Pitches as Prefix Neighbors -- 55.Chords Applied to the Dominant; Skips Involving [↑]4 -- 56.Chords Applied to the Subdominant; Skips Involving [↓]7 in Major and [↑]3 in Minor -- 57.Chords Applied to the Supertonic; Skips Involving [↑]1 -- 58.Chords Applied to the Submediant; Skips Involving [↑]5 -- 59.Chords Applied to the Mediant; The 7 -- 3 Skip in Minor; Skips Involving [↑]2 in Major -- 60.The Neapolitan Chord; Steps and Skips Involving [↓]2 -- 61.The Augmented Sixth Chords; Steps and Skips Involving [↑]4 and 6 in Minor, [↑]4 and [↓] 6 in Major -- 62.Other Chords -- 63.Melodic Sequence -- 64.Harmonic Sequence -- 65.Other Clefs -- 66.Hemiola

Note continued: 67.Stepwise Chromatic Alterations -- 68.Reading in Keys Other Than the Notated Key Signature -- 69.Introduction to Modulation -- 70.Closely Related Modulation from the Maj or Mode -- 71.Closely Related Modulation from the Minor Mode -- 72.Distant Modulations -- 73.Successive Modulations -- 74.Fragments of Tonality -- 75.Advanced Meters -- 76.More Advanced Rhythms -- 77.Some Common Non-Diatonic Pitch Collections -- 78.Hypermeter -- 79.Form.