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.GROUP SKIP 2
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↓_ Preface _↓
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.fill  INDENT 4 
	This book is intended for use by any serious student of music
theory.  It presumes the sort of general knowledge of theory that is
usually learned by the end of a first or second year college harmony course.  While in
fact this material has been used by second year students it has also proved
very useful in advanced graduate seminars in harmonic analysis.

	The  general layout of the book is designed to fit a one semester
or two quarter music theory course.  If it is used with advanced students
it might be possible to cover the material in just one quarter.  Perhaps
the ideal use of this book would be in conjunction with second or third year 
studies in elementary tonal composition, counterpoint, and keyboard harmony, etc.,
in a course which would cover an entire school year.

	It must be emphasized that the success of any study in music theory
is highly dependent on the student's on-going development of experience in
listening and performing music.  A technical description or explanation of a
musical event will be meaningless unless the student can see a clear connection
between the description and some internal musical experience.  Much listening to
music of all styles is important, but even more important is performance.  It
is through performance that the student gains a "one to one" relationship
with music.  It is this kind of relationship which is necessary for the complete
grasp of the functional significance of any harmonic progression.

.skip 1
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________________
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.center
↓_ A Note on this Publication _↓
.fill indent 4 
	 This book is probably the first book on
music ever typeset by completely computerized means.  The master sheets were prepared
at the Stanford University Center for Computer Research in Music and Acoustics
using the Digital Equipment Corporation KL10 computer system of the 
Stanford Artificial Intelligence Project.
The main text was assembled by means of a typesetting program called PUB.
The principal typeface used is a revised Meteor font.  

	All the musical examples and analytical diagrams were prepared by the
MS music typesetting program developed by this author over the past few
years.  This program allows the rapid preparation of all conventional musical
material as well as the possibility of the creation of a wide variety of special
symbols.  The master sheets were
printed at double size on a Varian %2Statos%1 electrostatic plotting device.
These sheets were then photo-reduced for standard lithographic printing.

	The programs used for this publication were developed by many people but
the author wishes to give special thanks to a few whose contributions were
outstanding.  These include Lester Earnest, Martin Frost, Hans Moravec, and
Clement Smith.
 
.indent 32
	Leland Smith, August 1979
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↓_ Table of Contents _↓
.no fill  INDENT 0

Chapter →Page

I\Introduction→1

II\Diatonic Functions→8
\\Scales and Tonality
\\Harmonic Functions
\\Substitute Functions

III\Simple Secondary Functions→29
\\Functional and Non-functional Chromaticism
\\Pivot Chords

IV\Functions of the Minor→40
\\Major-minor Interchangeability
\\Augmented Sixth and other Chromatic Chords

V\Extended Tonicization→56
\\Added Levels of Tonic Function
\\Pivotal Tonics
\\Control Tonics

VI\Alternating Progressions and Indirect Relationships→71
\\Simultaneous Functions

VII\Modulation→88
\\Movements of Basic Tonics

VIII\Summary of Procedures→102
\\Six General Steps

IX\The Complete Musical Movement: Mozart→107

X\The Complete Musical Movement: Wagner→129

XI\Tonal Dissolution:  Conclusion→149