Chapter 15 – Secondary Dominants and Tonicization

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Textbooks Examples

Example 15-1

Example 15-3

Example 15-5

Example 15-6

Example 15-7

Example 15-9

Band of Horses, “The General Specific”

Example 15-10

Example 15-12

Example 15-14

Example 15-15

Textbook Exercises

Exercise 4

Supplemental Exercises

Exercise 4

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Chapter 16 – Modulation I: Phrase Modulation and Diatonic Pivot Chords

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Textbooks Examples

Example 16-2

Example 16-4

Example 16-5

Example 16-6

Example 16-7

Textbook Exercises

Exercise 1 (16-8)

Exercise 2 (16-9)

Supplemental Exercises

Exercise 1

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Chapter 17 – Modal Mixture

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Textbooks Examples

Example 17-1

Example 17-3

Example 17-4

Example 17-5

Example 17-6

Example 17-7

The Kinks, “Lola”

Example 17-8

Donovan, “Atlantis”

Example 17-9

Radiohead, “Creep”

Example 17-11

Example 17-12

Brahms, Symphony No. 3, II, end

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Chapter 18 – The Neapolitan and Augmented Sixth Chords

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Textbooks Examples

Example 18-2

Example 18-3

Example 18-4

Lionel Richie, “Hello”

Example 18-5

Example 18-7

Example 18-9

Example 18-10

Example 18-11

Example 18-12

Example 18-13

Example 18-14

Example 18-15

Example 18-16

Textbook Exercises

Exercise 4

Supplemental Exercises

Exercise 4

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Chapter 19 – Modulation II: Chromatic Pivot Chords, Enharmonic Reinterpretation, and Common-Tone Modulation

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Textbooks Examples

Example 19-1

Example 19-2

Example 19-3

Example 19-4

Example 19-5

Example 19-6

Example 19-7

Example 19-8

Example 19-9

Example 19-11

Example 19-12

Example 19-13

Example 19-14

Textbook Exercises

Exercise 1

Exercise 2 -(19-15)

Exercise TC (19-16)

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Chapter 20 – Dominant Ninth Chords, Altered Dominants, and Embellishing Chords

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Textbooks Examples

Example 20-1

Example 20-2

Example 20-3

Example 20-4

Example 20-5

Alma Mahler, “Ekstase,” from Five Songs, No. 2, mm. 17–24

Example 20-6

Example 20-7

Example 20-8

Example 20-10

Example 20-11

Example 20-12

Example 20-13

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