Tonic and Dominant
- The Authentic Cadence
- The I and V Chord
- Four-Voice Writing: Soprano, Alto, Tenor, Bass
- Doubling Tones
- Voice Leading and Independence
- The Leading Tone
- Open and Close Position Writing
Practice With Tonic and Dominant
- Voice Leading with I and V Chords in Root Position
- Figuring Out Which Tones to Double
- When to Omit a Chord Tone
- Contrary Motion
- The V Chord in Minor: Using Harmonic Minor
Inversions of I and V
- Creating a Smooth Bass Line with Inversions
- Using Figured Bass for Chord Inversions
- Parallel Octaves
The V7 Chord
- Tendency Tones in the V7 Chord: FA and TI
- Voice Leading with the V7 Chord in Root Position
- Using Inversions of the V7 Chord
- Rhythmic Differentiation of the Parts
- Passing Tones
Pre-Dominants Part 1: The II Chord
- Approaching the V Chord with II
- Voice Leading with ii — V — I
- Parallel Fifths
- Neighbor Tones
Pre-Dominants Part 2: The IV Chord
- Approaching the V Chord with IV
- The Plagal Cadence: IV – I
- The Phrygian Cadence
- The Perfect 4th as a Dissonance
- Second-Inversion Triads and Suspensions
- Resolving Cadential 6/4 to V
- Resolving Cadential 6/4 to V7
