Chapter 16: “Emulative” Composition
......................................................................... 197
Introduction and Purpose of Study.......................................................................................................... 198
Realizing Simple Figured Bass in SATB.................................................................................................... 199
Realizing Simple Figured Bass in Keyboard Style................................................................................... 200
Procedure for Harmonizing a Given Melody .......................................................................................... 201
Chapter 17: Melodic Elaboration II Adding NHT to a Basic Setting
Enhancing a Setting using Appropriate Embellishment........................................................................ 203
Restrictions................................................................................................................................................. 204
The Suspension Figure: Review and Construction Procedure .............................................................. 205
Cadential Elaboration ................................................................................................................................ 206
Other NHT................................................................................................................................................... 207
Chapter 18: Harmonic Elaboration II: Adding Seventh Chords to a Basic
Setting
Review and Common Use of Seventh Chords.......................................................................................... 209
Tendency Tones ......................................................................................................................................... 210
Resolution of Seventh Chords: General Procedures for Voice Leading................................................211
Special Resolution Procedures ................................................................................................................. 212
Chapter 19: Appendix A: Common Musical Terms
.................................................... 213
Chapter 20: Appendix B: Upper Dominant Discords and Non-Dominant Upper
Extensions
Chapter 21: Appendix C: Generalized “Textbook” Models of Larger Forms
Chapter 22: Appendix D: Realizing Chord Changes and Some Typical Jazz Chord
Voicings
vi