Workbook
Digital Workbook
Kyle Gullings
At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.
Use arrows in the cells on the header row to sort the table alphabetically. Use the “Search” function to filter by the words in your search.
Last updated: August 19, 2024 6:14 pm
Book order | Part | Chapter | Assignments |
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1 | I. Fundamentals | Introduction to Western Musical Notation | |
2 | I. Fundamentals | Notation of Notes, Clefs, and Ledger Lines | |
3 | I. Fundamentals | Reading Clefs |
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4 | I. Fundamentals | The Keyboard and the Grand Staff | |
5 | I. Fundamentals | Half Steps, Whole Steps, and Accidentals | |
6 | I. Fundamentals | American Standard Pitch Notation (ASPN) |
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7 | I. Fundamentals | Other Aspects of Notation | |
8 | I. Fundamentals | Notating Rhythm | |
9 | I. Fundamentals | Simple Meter and Time Signatures | |
10 | I. Fundamentals | Compound Meter and Time Signatures | |
11 | I. Fundamentals | Other Rhythmic Essentials |
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12 | I. Fundamentals | Major Scales, Scale Degrees, and Key Signatures |
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13 | I. Fundamentals | Minor Scales, Scale Degrees, and Key Signatures |
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14 | I. Fundamentals | Introduction to Diatonic Modes and the Chromatic “Scale” | |
15 | I. Fundamentals | Intervals | |
16 | I. Fundamentals | Triads |
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17 | I. Fundamentals | Seventh Chords |
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18 | I. Fundamentals | Inversion and Figured Bass |
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19 | I. Fundamentals | Roman Numerals |
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20 | I. Fundamentals | Texture |
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21 | I. Fundamentals | Chords in SATB style |
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22 | II. Counterpoint and Galant Schemas | Introduction to Species Counterpoint |
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23 | II. Counterpoint and Galant Schemas | First-Species Counterpoint |
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24 | II. Counterpoint and Galant Schemas | Second-Species Counterpoint |
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25 | II. Counterpoint and Galant Schemas | Third-Species Counterpoint |
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26 | II. Counterpoint and Galant Schemas | Fourth-Species Counterpoint |
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27 | II. Counterpoint and Galant Schemas | Fifth-Species Counterpoint |
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28 | II. Counterpoint and Galant Schemas | Gradus ad Parnassum Exercises | |
29 | II. Counterpoint and Galant Schemas | 16th-Century Contrapuntal Style |
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30 | II. Counterpoint and Galant Schemas | High Baroque Fugal Exposition |
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31 | II. Counterpoint and Galant Schemas | Ground Bass |
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32 | II. Counterpoint and Galant Schemas | Galant Schemas – Summary | |
33 | II. Counterpoint and Galant Schemas | Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences |
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34 | II. Counterpoint and Galant Schemas | Galant Schemas |
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35 | III. Form | Foundational Concepts for Phrase-Level Forms |
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36 | III. Form | The Phrase, Archetypes, and Unique Forms |
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37 | III. Form | Hybrid Phrase-Level Forms |
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38 | III. Form | Expansion and Contraction at the Phrase Level |
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39 | III. Form | Formal Sections in General | |
40 | III. Form | Binary Form |
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41 | III. Form | Ternary Form | |
42 | III. Form | Sonata Form | |
43 | III. Form | Rondo | |
44 | IV. Diatonic Harmony, Tonicization, and Modulation | Introduction to Harmony, Cadences, and Phrase Endings |
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45 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with V⁷ |
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46 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with Strong Predominants | |
47 | IV. Diatonic Harmony, Tonicization, and Modulation | Embellishing Tones | |
48 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with Cadential 6/4 | |
49 | IV. Diatonic Harmony, Tonicization, and Modulation | Prolonging Tonic at Phrase Beginnings with V⁶ and Inverted V⁷s |
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50 | IV. Diatonic Harmony, Tonicization, and Modulation | Performing Harmonic Analysis Using the Phrase Model | |
51 | IV. Diatonic Harmony, Tonicization, and Modulation | Prolongation at Phrase Beginnings using the Leading-Tone Chord | |
52 | IV. Diatonic Harmony, Tonicization, and Modulation | 6/4 Chords as Forms of Prolongation | |
53 | IV. Diatonic Harmony, Tonicization, and Modulation | Plagal Motion as a Form of Prolongation |
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54 | IV. Diatonic Harmony, Tonicization, and Modulation | La (6̂) in the Bass at Beginnings, Middles, and Endings | |
55 | IV. Diatonic Harmony, Tonicization, and Modulation | The Mediant Harmonizing Mi (3̂) in the Bass | |
56 | IV. Diatonic Harmony, Tonicization, and Modulation | Predominant Seventh Chords | |
57 | IV. Diatonic Harmony, Tonicization, and Modulation | Tonicization |
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58 | IV. Diatonic Harmony, Tonicization, and Modulation | Extended Tonicization and Modulation to Closely Related Keys | |
59 | V. Chromaticism | Modal Mixture |
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60 | V. Chromaticism | Neapolitan 6th (♭II⁶) | |
61 | V. Chromaticism | Augmented Sixth Chords |
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62 | V. Chromaticism | Common-Tone Chords (CTᴼ⁷ & CT⁺⁶) |
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63 | V. Chromaticism | Harmonic Elision | |
64 | V. Chromaticism | Chromatic Modulation |
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65 | V. Chromaticism | Reinterpreting Diminished Seventh Chords |
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66 | V. Chromaticism | Augmented Options |
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67 | V. Chromaticism | Equal Divisions of the Octave |
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68 | V. Chromaticism | Chromatic Sequences |
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69 | V. Chromaticism | Parallel Chromatic Sequences |
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70 | V. Chromaticism | The Omnibus Progression |
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71 | V. Chromaticism | Altered and Extended Chords |
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72 | V. Chromaticism | Neo-Riemannian Triadic Progressions |
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73 | V. Chromaticism | Mediants |
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74 | VI. Jazz | Swing Rhythms |
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75 | VI. Jazz | Chord Symbols | |
76 | VI. Jazz | Jazz Voicings | |
77 | VI. Jazz | ii–V–I |
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78 | VI. Jazz | Embellishing Chords |
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79 | VI. Jazz | Substitutions |
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80 | VI. Jazz | Chord-Scale Theory |
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81 | VI. Jazz | Blues Harmony |
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82 | VI. Jazz | Blues Melodies and the Blues Scale |
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83 | VII. Popular Music | Rhythm and Meter in Pop Music |
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84 | VII. Popular Music | Drumbeats |
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85 | VII. Popular Music | Melody and Phrasing |
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86 | VII. Popular Music | Introduction to Form in Popular Music | |
87 | VII. Popular Music | AABA Form and Strophic Form |
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88 | VII. Popular Music | Verse-Chorus Form |
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89 | VII. Popular Music | Texture in Pop Music |
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90 | VII. Popular Music | Introduction to Harmonic Schemas in Pop Music |
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91 | VII. Popular Music | Blues-Based Schemas |
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92 | VII. Popular Music | Four-Chord Schemas |
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93 | VII. Popular Music | Classical Schemas (in a Pop Context) |
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94 | VII. Popular Music | Puff Schemas |
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95 | VII. Popular Music | Modal Schemas |
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96 | VII. Popular Music | Pentatonic Harmony |
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97 | VII. Popular Music | Fragile, Absent, and Emergent Tonics |
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98 | VIII. 20th- and 21st-Century Techniques | Twentieth-Century Rhythmic Techniques |
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99 | VIII. 20th- and 21st-Century Techniques | Pitch and Pitch Class | |
100 | VIII. 20th- and 21st-Century Techniques | Intervals in Integer Notation |
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101 | VIII. 20th- and 21st-Century Techniques | Pitch-Class Sets, Normal Order, and Transformations |
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102 | VIII. 20th- and 21st-Century Techniques | Set Class and Prime Form |
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103 | VIII. 20th- and 21st-Century Techniques | Interval-Class Vectors | |
104 | VIII. 20th- and 21st-Century Techniques | Analyzing with Set Theory (or not!) |
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105 | VIII. 20th- and 21st-Century Techniques | Diatonic Modes |
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106 | VIII. 20th- and 21st-Century Techniques | Collections |
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107 | VIII. 20th- and 21st-Century Techniques | Analyzing with Modes, Scales, and Collections |
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108 | IX. Twelve-Tone Music | Basics of Twelve-Tone Theory |
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109 | IX. Twelve-Tone Music | Naming Conventions for Rows |
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110 | IX. Twelve-Tone Music | Row Properties |
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111 | IX. Twelve-Tone Music | Analysis Examples – Webern Op. 21 and 24 |
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112 | IX. Twelve-Tone Music | Composing with Twelve Tones |
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113 | IX. Twelve-Tone Music | History and Context of Serialism | |
114 | X. Orchestration | Core Principles of Orchestration |
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115 | X. Orchestration | Subtle Color Changes |
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116 | X. Orchestration | Transcription from Piano |
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117 | XI. Rhythm and Meter | Notating Rhythm [crosslist] | |
118 | XI. Rhythm and Meter | Simple Meter and Time Signatures [crosslist] | |
119 | XI. Rhythm and Meter | Compound Meter and Time Signatures [crosslist] | |
120 | XI. Rhythm and Meter | Other Rhythmic Essentials [crosslist] | |
121 | XI. Rhythm and Meter | Hypermeter |
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122 | XI. Rhythm and Meter | Metrical Dissonance |
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123 | XI. Rhythm and Meter | Swing Rhythms [crosslist] | |
124 | XI. Rhythm and Meter | Rhythm and Meter in Pop Music [crosslist] | |
125 | XI. Rhythm and Meter | Drumbeats [crosslist] | |
126 | XI. Rhythm and Meter | Twentieth-Century Rhythmic Techniques [crosslist] | |
127 | Ear Training Appendix | The Basics of Sight-Singing and Dictation |
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Showing 1 to 127 of 127 entries