Ear Training

Part I: Elements of Music

Chapter 1: Pitch and Pitch Class

Chapter 2: Simple Meters

Chapter 3: Pitch Collections, Scales, and Major Keys

Chapter 4: Compound Meters

Chapter 5: Minor Keys and the Diatonic Modes

Chapter 6: Intervals

Chapter 7: Triads

Chapter 8: Seventh Chords

Chapter 9: Essentials of Counterpoint

Chapter 10: Contrapuntal Embellishment

 

Part II: Diatonic Harmony and Tonicization

Chapter 11: Eighteenth-Century Foundations

Chapter 12: The Basic Phrase

Chapter 13: Dominant Sevenths and Predominants

Chapter 14: Expanding Harmonies with 6/4 Chords

Chapter 15: New Cadence Types

Chapter 16: Embellishing Tones

Chapter 17: More Dominant-Function Harmonies

Chapter 18: Phrase Structure and Motivic Analysis

Chapter 19: Secondary Dominant-Function Chords of V

Chapter 20: Tonicizing Scale Degrees Other Than 5ˆ

Chapter 21: Diatonic Sequences

 

Part III: Chromatic Harmony and Form

Chapter 22: Modulation

Chapter 23: Binary and Ternary Forms

Chapter 24: Contrapuntal Procedures and Designs

Chapter 25: Variations

Chapter 26: Modal Mixture

Chapter 27: The Neapolitan Sixth and Augmented Sixth Chords

Chapter 28: Chromatic Sequences and Voice-Leading Chords

Chapter 29: Vocal Forms

Chapter 30: Sonata Form

Chapter 31: Rondo and Related Formal Plans

Chapter 32: Lead-Sheet Notation, Jazz, and Blues

Chapter 33: Popular Song

 

Part IV: The Twentieth Century and Beyond

Chapter 34: Tetrachords, Pentatonic Scales, and Modes

Chapter 35: Asymmetric Meter, Changing Meter, and Polymeter

Chapter 36: PC sets as Motive

Chapter 37: Set Classes

Chapter 38: Ordered Segments and Serialism

Chapter 39: Recent Trends in Rhythm and Meter

Chapter 40: Borrowing from the Past