Theory of harmony / Arnold Schoenberg ; translated by Roy E. Carter

Reprint. Originally published in 1911 by Universal Edition. This translation was first published in 1978 by University of California Press and was based on the third edition (1922) of the German text

New foreword by Walter Frisch, dated 2010 at end

Foreword to the Iooth Anniversary Edition Translator's Preface Preface to the First Edition Preface to the Third Edition I Theory or System of Presentation? II The Method of Teaching Harmony III Consonance and Dissonance IV The Major Mode and the Diatonic Chords The Diatonic Triads Spacing the Chords Connection of the Diatonic Primary and Secondary Triads Connection of the Diatonic Primary and Secondary Triads in Short Phrases The VIIth Degree The Inversions of the Triads The Sixth Chord Parallel Octaves and Fifths Connection of the Triads with the Sixth Chords, the Sixth Chords with the Triads and the Sixth Chords with One Another The Six-Four Chord Seventh Chords Inversions of the Seventh Chords Connection of Seventh Chords with One Another V The Minor Mode The Diatonic Triads in Minor Inversion of the Triads in Minor Seventh Chords and their Inversions in Minor VI Connection of Chords That Have No Common Tone (Harmonisches Band) VII Some Directions for Obtaining Better Progressions; Concerning Melodic Conduct of The Two Outer Voices; Then Concerning Closes, Cadences, Deceptive Cadences, and the Six-Four Chord in the Cadence Guidelines for using the Means so far Introduced Closes and Cadences Deceptive Cadences The Six-Four Chord in the Cadence VIII Freer Treatment of VII in Major and Minor IX Modulation X Secondary Dominants and Other Non-Diatonic Chords Derived From the Church Modes Guidelines Concerning the Diminished Seventh Chord Guidelines for the Use of the Diminished Seventh Chord XI Rhythm (Takt) and Harmony XII Modulatons: Continuation To the Third and Fourth Circles Upward To the Third and Fourth Circles Downward XIII Relationship to the Minor Sub-Dominant Guidelines XIV At the Frontiers of Tonality The Augmented Triad Augmented Six-Five, Four-Three, Two, and Sixth Chords, and Some Other Vagrant Chords XV Modulation to the IInd, Vth, and VIth Circles of Fifths, to the VIIth and VIIIth, and Also to More Closely Related Circles By Segments and Through Intermediate Keys Fifth and Sixth Circles of Fifths XVI Chorale Harmonization Cadences (Schlusse) XVII `Non-Harmonic' Tones Suspension, Double Suspension, et cetera, Passing Tones, Changing Tones, Anticipations XVIII A Few Remarks Concerning Ninth Chords XIX Some Additions and Schematic Presentations to Round Out the System Alterations of Triads, Seventh Chords, and Ninth Chords Abbreviation of Set Patterns Through Omission of Intermediate Steps Triads Connected with All Other Triads and Seventh Chords; also, All Seventh Chords with One Another Some Other Details: Possibilities of the Ascending Seventh; Basses for the Diminished Seventh Chord; a Chord of Mozart; an Eight-Part Chord Additional Schemes for Modulating Some Additional Details Concerning Fluctuating and Suspended Tonality The Chromatic Scale as a Basis for Tonality XX The Whole-Tone Scale and Related Five and Six-Part Chords XXI Chords Constructed in Fourths XXII Aesthetic Evaluation of Chords With Six or More Tones Appendix Topical Index Index of Names