Cover -- Contents -- About the Companion Website -- Introduction -- PART I: THEORY -- CHAPTER 1 Five Components of Tonality -- 1.1 The five features -- 1.2 Perception and the five features -- 1.3 Four claims -- 1.4 Music, magic, and language -- 1.5 Outline of the book, and a suggestion for impatient readers -- CHAPTER 2 Harmony and Voice Leading -- 2.1 Linear pitch space -- 2.2 Circular pitch-class space -- 2.3 Transposition and inversion as distance-preserving functions -- 2.4 Musical objects -- 2.5 Voice leadings and chord progressions -- 2.6 Comparing voice leadings -- 2.7 Voice-leading size -- 2.8 Near identity -- 2.9 Harmony and counterpoint revisited -- 2.10 Acoustic consonance and near evenness -- CHAPTER 3 A Geometry of Chords -- 3.1 Ordered pitch space -- 3.2 The Parable of the Ant -- 3.3 Two-note chord space -- 3.4 Chord progressions and voice leadings in two-note chord space -- 3.5 Geometry in analysis -- 3.6 Harmonic consistency and efficient voice leading -- 3.7 Pure parallel and pure contrary motion -- 3.8 Three-dimensional chord space -- 3.9 Higher dimensional chord spaces -- 3.10 Triads are from Mars -- seventh chords are from Venus -- 3.11 Voice-leading lattices -- 3.12 Two musical geometries -- 3.13 Study guide -- CHAPTER 4 Scales -- 4.1 A scale is a ruler -- 4.2 Scale degrees, scalar transposition, and scalar inversion -- 4.3 Evenness and scalar transposition -- 4.4 Constructing common scales -- 4.5 Modulation and voice leading -- 4.6 Voice leading between common scales -- 4.7 Two examples -- 4.8 Scalar and interscalar transposition -- 4.9 Interscalar transposition and voice leading -- 4.10 Combining interscalar and chromatic transpositions -- CHAPTER 5 Macroharmony and Centricity -- 5.1 Macroharmony -- 5.2 Small-gap macroharmony -- 5.3 Pitch-class circulation -- 5.4 Modulating the rate of pitch-class circulation.

5.5 Macroharmonic consistency -- 5.6 Centricity -- 5.7 Where does centricity come from? -- 5.8 Beyond "tonal" and "atonal" -- PART II: HISTORY AND ANALYSIS -- CHAPTER 6 The Extended Common Practice -- 6.1 Disclaimers -- 6.2 Two-voice medieval counterpoint -- 6.3 Triads and the Renaissance -- 6.4 Functional harmony -- 6.5 Schumann's Chopin -- 6.6 Chromaticism -- 6.7 Twentieth-century scalar music -- 6.8 The extended common practice -- CHAPTER 7 Functional Harmony -- 7.1 The thirds-based grammar of elementary tonal harmony -- 7.2 Voice leading in functional tonality -- 7.3 Sequences -- 7.4 Modulation and key distance -- 7.5 The two lattices -- 7.6 A challenge from Schenker -- CHAPTER 8 Chromaticism -- 8.1 Decorative chromaticism -- 8.2 Generalized augmented sixths -- 8.3 Brahms and Schoenberg -- 8.4 Schubert and the major-third system -- 8.5 Chopin's tesseract -- 8.6 The Tristan prelude -- 8.7 Alternative approaches -- 8.8 Conclusion -- CHAPTER 9 Scales in Twentieth-Century Music -- 9.1 Three scalar techniques -- 9.2 Chord-first composition -- 9.3 Scale-first composition -- 9.4 The subset technique -- 9.5 Conclusion: common scales, common techniques -- CHAPTER 10 Jazz -- 10.1 Basic jazz voicings -- 10.2 From thirds to fourths -- 10.3 Tritone substitution -- 10.4 Altered chords and scales -- 10.5 Bass and upper voice tritone substitutions -- 10.6 Polytonality, sidestepping, and "playing out" -- 10.7 Bill Evans' "Oleo" -- 10.8 Jazz as modernist synthesis -- Conclusion -- APPENDIX A: Measuring Voice-Leading Size -- APPENDIX B: Chord Geometry: A More Technical Look -- APPENDIX C: Discrete Voice-Leading Lattices -- APPENDIX D: The Interscalar Interval Matrix -- APPENDIX E: Scale, Macroharmony, and Lerdahl's "Basic Space" -- APPENDIX F: Some Study Questions, Problems, and Activities -- References -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J.

K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- V -- W -- X -- Y.