The AB Guide to Music Theory Part II Eric Taylor English

Chapter 14: Voices
14/1 Singers and choirs page 105
14/2 Voices in score 106
Chapter 15: Non-harmony notes
15/1 Passing notes 110
15/2 Auxiliary notes 113
15/3 Anticipations 114
15/4 Changing notes 114
15/5 Appoggiaturas 117
15/6 Suspensions 120
15/7 Pedal points 124
Chapter 16: More about tonal harmony
16/1 Counterpoint 126
16/2 Part-writing 129
16/3 Harmonic rhythm 132
16/4 Second-inversion chords 133
16/5 Extensions of the triad (7ths, 9ths etc.) 136
16/6 Modulation 140
Chapter 17: Chromatic chords
17/1 Borrowed chords 145
17/2 Altered chords 149
17/3 The Neapolitan sixth 153
17/4 The diminished seventh 155
17/5 The augmented sixth 160
17/6 Harmonic sequences 165
Chapter 18: Aspects of melody
18/1 Some definitions 171
18/2 Note relationships 172
18/3 Melodic sequences 174
18/4 Regular phrases 175
18/5 Design in melodies 179
18/6 Irregular phrases 183
18/7 Motifs 187
18/8 The bass line 190
18/9 Outlined melody 194
vi
Chapter 19: String instruments
19/1 Orchestral strings
19/2 Bowing
19/3 Multiple stops
19/4 Harmonics
19/5 Vibrato
19/6 The guitar
19/7 The harp
Chapter 20: Woodwind and Brass instruments
20/1 Woodwind: flue instruments
20/2 Transposing instruments
20/3 Woodwind: reeds
20/4 Brass
20/5 Mutes in wind instruments
20/6 Tonguing
Chapter 21: Percussion and Keyboard instruments
2111 Pitched percussion
2112 Unpitched percussion
2113 Keyboard instruments
Chapter 22: Instruments in combination
22/1 Chamber-music groups
22/2 Orchestras
22/3 Bands
Chapter 23: Before the tonal period
Traditional modes
Chapter 24: Some modern developments
24/1 The undermining of tonal harmony
24/2 Modem scales and modes
24/3 The twelve-note method
24/4 Rhythm
24/5 Notation
Appendix C: Names of orchestral instruments in
English, Italian, German, French
Appendix D: Roman chord-indications
Appendix E: Pitch specifications
Appendix F: Clefs
Index