Composer, theorist, and jazz pianist Peter Spencer retired as a Professor of Music Theory and Composition at Florida State University. He was born in Wales, educated in England at Winchester College, Oxford and London Universities, and in the United States at West Virginia University where his terminal degree was the Doctor of Musical Arts in Composition. At FSU he served as Coordinator of Music Theory and Composition; as Director of the Certificate Programs for Pedagogy in Music Theory and Computers in Music; and was instrumental in developing the Center for Music Research. Besides his textbooks The Practice of Harmony, The Study of Form in Music, and Music Theory for Non-Music Majors, he has written instructional materials for the development of aural skills, including a comprehensive computer-based program in melodic and harmonic dictation. Pianist and composer Barbara A. Bennett comes from a long line of southern musicians dating back to early twentieth-century traveling tent musicians along the eastern seaboard. She holds degrees in piano performance from the University of Georgia and a doctorate in composition from the Florida State University. She recently retired from the University of California, Riverside, where she taught music theory, composition, and women in music to many generations of music students. Her expertise in the classroom was recognized with an Outstanding Teaching Award. Besides teaching, composing, and performing, her career included serving on national and regional boards of The College Music Society and the National Association of Composers, USA.   The co-authors have a professional acquaintance that dates back to the early 1980s. While teaching undergraduate theory at FSU, Bennett was among the graduate assistants that Spencer supervised. They grew to share a pedagogical approach, and that common bond continued into their editing duties on The Practice of Harmony. They remain close friends and colleagues.

• 1. Clefs and Basic Pitch Notation 2. Scales 3. Key Signatures and Scale Degrees 4. Intervals 5. Triads 6. The Notation of Rhythm 7. Four-Part Vocal Writing 8. Primary Triads in Root Position 9. Primary Triads in First Inversion 10. Primary Triads in Second Inversion 11. Secondary Triads 12. The Harmonization of Melodies I 13. Nonchord Tones I 14. Nonchord Tones II 15. Diatonic Seventh Chords 16. The Harmonization of Melodies II 17. Writing for the Piano 18. Secondary Dominants 19. Secondary Diminished Seventh Chords 20. Augmented Sixth Chords 21. Borrowed Chords 22. The Neapolitan 23. Common Chord Modulation 24. Abrupt and Enharmonic Modulation 25. Ninth, Eleventh, and Thirteenth Chords 26. Chord Symbols 27. Modal Harmony 28. Nonfunctional Harmony 29. Artificial Scales 30. Nontertian Harmony 31. Harmonic Procedures in Twelve-Tone Serialism

Composer, theorist, and jazz pianist Peter Spencer retired as a Professor of Music Theory and Composition at Florida State University. He was born in Wales, educated in England at Winchester College, Oxford and London Universities, and in the United States at West Virginia University where his terminal degree was the Doctor of Musical Arts in Composition. At FSU he served as Coordinator of Music Theory and Composition; as Director of the Certificate Programs for Pedagogy in Music Theory and Computers in Music; and was instrumental in developing the Center for Music Research. Besides his textbooks The Practice of Harmony, The Study of Form in Music, and Music Theory for Non-Music Majors, he has written instructional materials for the development of aural skills, including a comprehensive computer-based program in melodic and harmonic dictation. Pianist and composer Barbara A. Bennett comes from a long line of southern musicians dating back to early twentieth-century traveling tent musicians along the eastern seaboard. She holds degrees in piano performance from the University of Georgia and a doctorate in composition from the Florida State University. She recently retired from the University of California, Riverside, where she taught music theory, composition, and women in music to many generations of music students. Her expertise in the classroom was recognized with an Outstanding Teaching Award. Besides teaching, composing, and performing, her career included serving on national and regional boards of The College Music Society and the National Association of Composers, USA.   The co-authors have a professional acquaintance that dates back to the early 1980s. While teaching undergraduate theory at FSU, Bennett was among the graduate assistants that Spencer supervised. They grew to share a pedagogical approach, and that common bond continued into their editing duties on The Practice of Harmony. They remain close friends and colleagues.

• 1. Clefs and Basic Pitch Notation 2. Scales 3. Key Signatures and Scale Degrees 4. Intervals 5. Triads 6. The Notation of Rhythm 7. Four-Part Vocal Writing 8. Primary Triads in Root Position 9. Primary Triads in First Inversion 10. Primary Triads in Second Inversion 11. Secondary Triads 12. The Harmonization of Melodies I 13. Nonchord Tones I 14. Nonchord Tones II 15. Diatonic Seventh Chords 16. The Harmonization of Melodies II 17. Writing for the Piano 18. Secondary Dominants 19. Secondary Diminished Seventh Chords 20. Augmented Sixth Chords 21. Borrowed Chords 22. The Neapolitan 23. Common Chord Modulation 24. Abrupt and Enharmonic Modulation 25. Ninth, Eleventh, and Thirteenth Chords 26. Chord Symbols 27. Modal Harmony 28. Nonfunctional Harmony 29. Artificial Scales 30. Nontertian Harmony 31. Harmonic Procedures in Twelve-Tone Serialism

Composer, theorist, and jazz pianist Peter Spencer retired as a Professor of Music Theory and Composition at Florida State University. He was born in Wales, educated in England at Winchester College, Oxford and London Universities, and in the United States at West Virginia University where his terminal degree was the Doctor of Musical Arts in Composition. At FSU he served as Coordinator of Music Theory and Composition; as Director of the Certificate Programs for Pedagogy in Music Theory and Computers in Music; and was instrumental in developing the Center for Music Research. Besides his textbooks The Practice of Harmony, The Study of Form in Music, and Music Theory for Non-Music Majors, he has written instructional materials for the development of aural skills, including a comprehensive computer-based program in melodic and harmonic dictation. Pianist and composer Barbara A. Bennett comes from a long line of southern musicians dating back to early twentieth-century traveling tent musicians along the eastern seaboard. She holds degrees in piano performance from the University of Georgia and a doctorate in composition from the Florida State University. She recently retired from the University of California, Riverside, where she taught music theory, composition, and women in music to many generations of music students. Her expertise in the classroom was recognized with an Outstanding Teaching Award. Besides teaching, composing, and performing, her career included serving on national and regional boards of The College Music Society and the National Association of Composers, USA.   The co-authors have a professional acquaintance that dates back to the early 1980s. While teaching undergraduate theory at FSU, Bennett was among the graduate assistants that Spencer supervised. They grew to share a pedagogical approach, and that common bond continued into their editing duties on The Practice of Harmony. They remain close friends and colleagues.

• 1. Clefs and Basic Pitch Notation 2. Scales 3. Key Signatures and Scale Degrees 4. Intervals 5. Triads 6. The Notation of Rhythm 7. Four-Part Vocal Writing 8. Primary Triads in Root Position 9. Primary Triads in First Inversion 10. Primary Triads in Second Inversion 11. Secondary Triads 12. The Harmonization of Melodies I 13. Nonchord Tones I 14. Nonchord Tones II 15. Diatonic Seventh Chords 16. The Harmonization of Melodies II 17. Writing for the Piano 18. Secondary Dominants 19. Secondary Diminished Seventh Chords 20. Augmented Sixth Chords 21. Borrowed Chords 22. The Neapolitan 23. Common Chord Modulation 24. Abrupt and Enharmonic Modulation 25. Ninth, Eleventh, and Thirteenth Chords 26. Chord Symbols 27. Modal Harmony 28. Nonfunctional Harmony 29. Artificial Scales 30. Nontertian Harmony 31. Harmonic Procedures in Twelve-Tone Serialism