Music Theory Made Relevant Designed for undergraduate music majors, Harmony in Context provides the richest possible musical context for the study of harmony, constantly encouraging students to translate what they are learning into better performances and better listening. The musical examples and anthology encompass a wide variety of different composers and repertoires. A clear and visually attractive layout, as well as the use of section and subsection headings and lists where appropriate, are essential aspects that contribute to the effective organization of this book. Recordings for all the musical examples from the literature included in both the book and the anthology are available on the book's Online Learning Center.

Table of Contents:
PrefaceA Message to the Student: Why Do We Study Music Theory?Introduction: The Fundamentals of MusicChapter APitch: Notation and IntervalsThe Notation of Pitch;Intervals;Consonant and Dissonant IntervalsChapter BRhythm and MeterDurational Symbols;Pulse, Beat, and Meter;Tempo;Simple and Compound Meters;The Notation of Meter;Metric Accent;Choosing a Meter to Notate a Melody;Asymmetrical Meters;Irregular Divisions of the Beat;Irregular Rhythmic and Metric Relationships;Some Notes on the Correct Notation of RhythmChapter CTonality: Scales and KeysModes and Scales;Key Signatures;Other Modes and Scales;Chapter DThe Rudiments of Harmony I: Triads and Seventh ChordsChords;Triads;Seventh Chords;Chapter EThe Rudiments of Harmony II: Labeling Chords. Musical TextureHarmonic Function, Roman Numerals;Figured Bass;Musical Texture;Chapter FIntroduction to Species CounterpointThe Melodic Line in Species Counterpoint;General Guidelines for Two-part Counterpoint;First Species (1:1);Second Species (2:1);Third Species (4:1);Fourth Species (Syncopated);Part I: Diatonic HarmonyChapter 1The Connection of ChordsHarmonic Progression;Notating, Voicing, and Spacing Chords;Chord Connection: the Principles of Part-writing;Voice-leading Guidelines for the Three Basic Types of Progressions;Melodic Style;Voice Independence;Why All These Rules?Chapter 2The Tonic and Dominant Triads in Root PositionThe Tonic Triad;The Dominant Triad;The I-V-I Progression;Characteristic Soprano-Bass Patterns;The I-V-I Progression as a Form-generating Structure;Pitch PatternsChapter 3Harmonic Function; the Subdominant Triad in Root PositionThe Basic Harmonic Functions;The Subdominant Triad;Voice-Leading Guidelines;Characteristic Soprano-Bass Patterns;A Model to Elaborate the Fundamental Progression;Pitch PatternsChapter 4Triads in First InversionThe Triad in First Inversion: Uses and Function;The Neighbor V6;Elaborating the I-V-I Progression;Voice-Leading Guidelines;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 5The Supertonic: Melody HarmonizationThe Supertonic in Root Position;The Supertonic in First Inversion;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Harmonizing a Melody;Pitch PatternsChapter 6Nonchord TonesThe Passing Tone;The Neighbor Note;The Anticipation;Incomplete Neighbors;Voice-Leading Guidelines;Suspensions;Pedal PointChapter 76/4 ChordsConsonant 6/4 Chords: The Arpeggiated 6/4;Dissonant 6/4 Chords;The Neighbor 6/4;The Passing 6/4;The Cadential 6/4;Voice-Leading Guidelines;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 8The Dominant Seventh and Its InversionsV7 in root position;Inversions of the Dominant Seventh;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 9The Leading-Tone TriadDoubling and Voice Leading;The Passing viio6;viio6 as a Dominant Substitute; The Leading-Tone Cadence;Voice-Leading Guidelines;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 10CadencesAuthentic Cadences;The Half Cadence;The Plagal Cadence;The Deceptive Cadence;Cadences: Summary and Voice Leading;Pitch PatternsChapter 11Melodic Organization I: Phrase StructureMotive;Phrase;Period Structure;Form Diagrams;More on Period Structure;Phrase GroupChapter 12Melodic Organization II: Thematic Development; Phrase Extension;Melodic Developmental Techniques;Phrase ExtensionChapter 13Harmonic Rhythm; Metric ReductionHarmonic Rhythm;Metric Reduction;Metric Reduction and Performance;Compound Melody;Writing Your Own Progresisons;Chapter 14The Mediant, Submediant, and Subtonic TriadsThe Mediant and Submediant Triads as Prolongations of the Tonic;Other Uses of the Mediant and Submediant;Voice-Leading Guidelines;The Subtonic;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Harmonizing a Melody with Keyboard Figuration;Pitch PatternsChapter 15Other Diatonic Seventh ChordsGeneral Doubling and Voice-Leading Guidelines;The Leading-Tone Sevenths;The Half-Diminished Seventh;The Fully-Diminished Seventh;The Supertonic Seventh;The Subdominant Seventh;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 16Harmonic SequencesThe Descending Circle-of-5ths Sequence;The Ascending Circle-of-5ths Sequence;Sequences by Descending 3rds;Sequences by Descending and Ascending Steps;A Summary of Harmonic Sequences: Elaborating the I-V-I Progression;Pitch PatternsPart II: Chromatic Harmony and Form Chapter 17Secondary Dominants IChromatic Harmony;Tonicization: Secondary Dominants;Spelling Secondary Dominants;V7 of V;Voice-Leading Guidelines;V7 of IV (iv);Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Pitch PatternsChapter 18Secondary Dominants IIV7 of ii;V7 of vi (VI);V7 of iii (III);V7 of VII;Characteristic Soprano-Bass Patterns;Elaborating the I-V-I Progression;Deceptive Resolutions of Secondary Dominants;Sequences with Secondary Dominants;Secondary Key Areas;Pitch PatternsChapter 19Secondary Leading-Tone ChordsSecondary Leading-tone Seventh Chords;Secondary viio7 Chords in Inversion;The viio7 Over a Pedal Point;Elaborating the I-V-I Progression;A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21;Secondary Functions in Context: Two Songs by MozartPitch PatternsChapter 20Modulation to Closely-Related KeysKey Relationships: Closely-Related Keys;Diatonic Pivot-Chord Modulation;Modulation to V;Modulation to the Relative Major and Minor Keys;Writing Pivot Chord Modulations;Chromatic Modulation: Chromatic Pivot Chords;Writing Chromatic Modulations;Modulation and Phrase Structure: Sequential and Phrase Modulation; Modulating Periods;Harmonizing Modulating Melodies;Pitch PatternsChapter 21Small Forms: Binary and Ternary; Variation FormsThe Binary Principle;Binary Tonal Types;Binary Formal Designs;The Ternary Principle;Variation Forms;Continuous Variations;Sectional VariationsChapter 22Contrapuntal GenresThe Two-Voice Invention;Bach: Invention no. 3, in DM;The Fugue;Bach: Fugue no. 2 in Cm from The Well-Tempered Clavier, I;Some Additional Fugal Techniques;The FugatoChapter 23Modal MixtureBorrowing Chords from the Minor Mode in a Major Key;Borrowing Chords from the Major Mode in a Minor Key; Change of mode;Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression;Pitch PatternsChapter 24The Neapolitan ChordThe Neapolitan Sixth;Tonicization of the Neapolitan;The Neapolitan in Root Position;Tritone Substitution: The Neapolitan as a Substitute for V7;Pitch PatternsChapter 25Augmented Sixth ChordsGeneral Features and Types of +6 Chords;The Italian +6;The German +6;The French +6;Other Types of +6 Chords;Summary;Tonal Relationship Between the Neapolitan and the +6 Chords;Pitch PatternsChapter 26Chromatic Modulatory Techniques: Modulation to Distantly-Related Keys I;Chromatic Pivot Chords;Writing Chromatic Pivot Chord Modulations;Modulation by Enharmonic Reinterpretation of the Gr +6;Writing Modulations with +6 Chords;Modulation by enharmonic reinterpretation of viio7;Writing Modulation with viio7 Chords;Pitch PatternsChapter 27Modulation to Distantly-Related Keys II; Linear Chromaticism IChromatic Third Relationships;Triads Related by Chromatic Third;Keys related by Chromatic Third: Common Tone Modulation;Linear Chromaticism I: Linear Chromatic Chords;Altered triads;Augmented Sixth Chords with Dominant and Embellishing; Functions;The Common-Tone Diminished Seventh Chord;Pitch PatternsChapter 28Introduction to Large FormsSonata Form;Mozart, Piano Sonata in CM, K. 309, I (Anthology, no. 25);Guided Studies of Sonata Form;The Rondo;A Five-Part Rondo: Haydn, Piano Sonata in DM, Hob. XVI:37, III (Anthology, no. 21);Guided Studies of Rondo FormsChapter 29Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II;Expanding Chordal Sonorities: Extended Tertian Chords;Linear Chromaticism II: Linear Expansions of Tonality;Appoggiatura Chords;Chromatic Sequences Revisited;Nonsequential Linear Processes;Pitch PatternsChapter 30The German Romantic Lied: Chromatic Harmony in ContextThe German Romantic Lied;Analysis 1: Schubert, Erlkonig;Analysis 2: Schumann, "Widmung";Modulation by Enharmonic Reinterpretation of V+;Analysis 3: Wolf, "Das Verlassene Magdlein";Pitch PatternsChapter 31Toward (and Beyond) the Limits of Functional TonalityTonal Ambiguity and Implied Tonality;Equal Divisions of the Octave;Parsimonious Voice Leading: The PLR Model;Beyond the Confines of Functional Tonality;Pitch PatternsAppendixTransposing InstrumentsSubject IndexMusical Example Index