Annotated Contents
A Chapter-by-Chapter breakdown of the updates to the Second Edition
See the full table of contents
Chapter 1 Pitch and Intervals
Coverage of the fundamentals of music has been comprehensively rewritten for accessibility. Figures, music examples, and exercises have been added to further clarify basic concepts.
Sections on pitch notation and intervals have been heavily revised, with increased emphasis on white-key intervals and clearer explanations of interval spelling.
Review self-quizzes have been added to every chapter, with the answers at the end of the book.
Chapter 2 Rhythm and Meter I: Beat, Meter, and Rhythmic Notation
Definitions of fundamental vocabulary have been simplified, and differences between similar concepts emphasized.
Chapter 3 Tonic, Scale, and Melody
Introductory material on tonality has been simplified and elucidated.
The material has been reorganized so that relative and parallel keys are presented before the circle of fifths.
Chapter 7 Melodic Figuration and Dissonance I: Categories of Embellishing Tones
The term "embellishing tone" now substitutes for "non-harmonic tone," and a section explaining consonant embellishing tones has been added.
Chapter 9 The Primary Triads: Tonic, Dominant, and Subdominant Chords
The IV chord is introduced far earlier in the new edition. This chapter covering the primary triads has been comprehensively rewritten, and now covers subdominant chords in addition to tonic and dominant.
Partwriting connections between chords are now introduced earlier in the harmony chapters, following the discussion of chord spelling.
The process of elaborating harmonic models complements the section on melody harmonization.
Chapter 10 The Dominant Seventh: Embellishing the Tonic Harmony
An entire chapter in the Second Edition is devoted to the dominant seventh chord. Increased focus has been placed on tonic prolongation, and basic conceptual explanations have been expanded to facilitate straightforward, unambiguous understanding of these concepts.
Chapter 11 The Tonic and Subdominant Chords in First Inversion: The IV and I as Embellishing Chords
Since the subdominant is now introduced earlier in the text, the IV6 chord is presented together with the I6, allowing for clearer and more extensive coverage of the functions of first inversion chords.
The concept of the IV and I as embellishing chords is introduced earlier.
Chapter 12 Phrase Structure and Grouping
The section explaining period construction has been rewritten and reorganized for increased clarity.
Chapter 13 Linear Dominant Chords: V6, viio6, and Inversions of V7
Coverage of linear dominant chords has been significantly revised and reorganized to convey more clearly the functions of these chords in tonal music.
Chapter 14 The Pre-Dominant II and II7 Chords
The material covering predominant chords has been heavily revised and restructured so that II and II7 chords are presented together. This chapter clearly explains the functions and characteristics of chords in the supertonic family.
Chapter 15 Melodic Figuration and Dissonance II: Suspensions and Other Uses of Embellishing Tones
Discussion regarding the role of embellishing tones in relation to partwiting has been expanded and clarified.
Chapter 16 Theand Other Linear Chords
Treatment of thechord has been expanded and reorganized for easier understanding by students.
Chapter 18 Rhythm and Meter II: Additional Meter Signatures and Rhythmic-Metrical Dissonance
The material in Chapter 18 has been relocated later in the text. It now includes discussion of meter signatures in extreme tempos.
Chapter 19 The Leading-Tone Seventh Chord and Other Seventh Chords
The chapter covering leading-tone seventh chords has been expanded to also cover other seventh chords, including the IV7, I7, VI7, and III7. The chapters have been reordered so that this material is discussed prior to tonicization and modulation.
Chapter 20 Harmonic Sequences I: Triadic Root Movement by 5th, 2nd, and 3rd
Discussions regarding harmonic sequences have been rewritten and reorganized. Two chapters have been combined so that all diatonic triadic sequences are explained together, before the introduction of tonicization and modulation.
Chapter 21 Tonicization and Modulation I: Secondary Dominant Chords
The introduction of secondary dominant chords occurs earlier in the Second Edition—before the discussion of tonicization and modulation. Further, the Second Edition contains an entire chapter devoted to the explanation of secondary dominant chords. This material has been heavily revised and restructured.
Chapter 22 Tonicization and Modulation II: Motion to V and III
The chapter introducing tonicization and modulation, which now appears later in the text, has been reorganized and rewritten so that students will more easily grasp these essential concepts.
Chapter 23 Harmonic Sequences II: Sequences of Seventh Chords and Other Sequences
An entire chapter is devoted to seventh chord patterns in the new edition. Explanations have been clarified and expanded.
Chapter 24 Simple Forms
Simple forms are now discussed later in the text, after thorough explanations of harmonic sequences, tonicization, and modulation.
Entire movements have been added to this chapter in the Workbook for analysis by students, with recordings on the CD-ROM.
Chapter 26 Introduction to Chromatic Harmony
This chapter includes a new section on enharmonic duality.
Chapter 29 The Neapolitan or bII Chord
The contents of Chapter 29 have been restructured and streamlined for greater precision and lucidity.
Chapter 30 Augmented Sixth Chords
The difference between the various types of augmented sixth chords is thoroughly and clearly explained in the new edition. The material has been restructured for increased clarity.
Chapter 31 More Extended Homophonic and Contrapuntal Formal Designs
Complete movements are included in this chapter of the Workbook for analysis by students, with recordings on the CD-ROM.
Chapter 32 Embellishing Chromatic Chords
The discussion of embellishing chromatic chords appears earlier in the Second Edition, and the topics within the chapter have been reordered to differentiate more clearly between the various types of chords.
Chapter 35 Ninth, Eleventh, Thirteenth, and Added-Note Chords
Ninth, Eleventh, Thirteenth, and Added-Note Chords are now presented later in the text, with several forms of commercial pop symbols included.
Chapter 36 Implication and Realization
Topics concerning implication and realization have been postponed until Chapter 36.
Appendix 4 Chord Symbols for Jazz and Commercial Music
Several forms of commercial pop chord symbols are now included in Appendix 4.
Appendix 6 Transposing Instruments
A new appendix has been added, which thoroughly explains the transposition of various orchestral instruments.
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