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Introduction
Acknowledgments
Statement on Spotify Usage
Instructor Resources
Changelog
Für Deutschsprachige
Pour les francophones
Helpful documents
Introduction to Western Musical Notation
Chelsey Hamm
Notation of Notes, Clefs, and Ledger Lines
Reading Clefs
The Keyboard and the Grand Staff
Half Steps, Whole Steps, and Accidentals
American Standard Pitch Notation (ASPN)
Chelsey Hamm and Bryn Hughes
Other Aspects of Notation
Chelsey Hamm and Mark Gotham
Rhythmic and Rest Values
Chelsey Hamm; Mark Gotham; and Bryn Hughes
Simple Meter and Time Signatures
Chelsey Hamm; Kris Shaffer; and Mark Gotham
Compound Meter and Time Signatures
Other Rhythmic Essentials
Bryn Hughes; Mark Gotham; and Chelsey Hamm
Major Scales, Scale Degrees, and Key Signatures
Minor Scales, Scale Degrees, and Key Signatures
Introduction to Diatonic Modes and the Chromatic "Scale"
The Basics of Sight-Singing and Dictation
Kris Shaffer; Chelsey Hamm; and Samuel Brady
Intervals
Triads
Seventh Chords
Inversion and Figured Bass
Chelsey Hamm and Samuel Brady
Roman Numerals and SATB Chord Construction
Samuel Brady and Kris Shaffer
Texture
Samuel Brady and Mark Gotham
Introduction to Species Counterpoint
Kris Shaffer and Mark Gotham
First-Species Counterpoint
Second-Species Counterpoint
Third-Species Counterpoint
Fourth-Species Counterpoint
Fifth-Species Counterpoint
Gradus ad Parnassum Exercises
Mark Gotham
16th-Century Contrapuntal Style
High Baroque Fugal Exposition
Ground Bass
Galant Schemas
Galant Schemas – Summary
Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences
Foundational Concepts for Phrase-Level Forms
John Peterson
The Phrase, Archetypes, and Unique Forms
Hybrid Phrase-Level Forms
Expansion and Contraction at the Phrase Level
Formal Sections in General
Brian Jarvis
Binary Form
Ternary Form
Sonata Form
Rondo
Introduction to Harmony, Cadences, and Phrase Endings
Strengthening Endings with V7
Strengthening Endings with Strong Predominants
Embellishing Tones
Strengthening Endings with Cadential 6/4
Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s
Performing Harmonic Analysis Using the Phrase Model
Prolongation at Phrase Beginnings using the Leading-Tone Chord
6/4 Chords as Forms of Prolongation
Plagal Motion as a Form of Prolongation
La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings
The Mediant Harmonizing Mi (Scale Degree 3) in the Bass
Predominant Seventh Chords
Tonicization
John Peterson and Megan Lavengood
Extended Tonicization and Modulation to Closely Related Keys
Modal Mixture
Neapolitan 6th (♭II6)
Augmented Sixth Chords
Common-Tone Chords (CTº7 & CT+6)
Harmonic Elision
Chromatic Modulation
Bryn Hughes
Reinterpreting Diminished Seventh Chords
Augmented Options
Equal Divisions of the Octave
Chromatic Sequences
Parallel Chromatic Sequences
The Omnibus Progression
Altered and Extended Dominant Chords
Neo-Riemannian Triadic Progressions
Swing Rhythms
Megan Lavengood
Chord Symbols
Jazz Voicings
ii–V–I
Embellishing Chords
Substitutions
Chord-Scale Theory
John Kocur
Blues Harmony
Bryn Hughes and Megan Lavengood
Blues Melodies and the Blues Scale
Rhythm and Meter in Pop Music
Bryn Hughes; Kris Shaffer; and Megan Lavengood
Melody and Phrasing
Introduction to Form in Popular Music
AABA Form and Strophic Form
Verse-Chorus Form
Introduction to Harmonic Schemas in Pop Music
Blues-Based Schemas
Four-Chord Schemas
Megan Lavengood and Bryn Hughes
Classical Schemas (in a Pop Context)
Bryn Hughes and Kris Shaffer
Puff Schemas
Modal Schemas
Pentatonic Harmony
Fragile, Absent, and Emergent Tonics
Pitch and Pitch Class
Intervals in Integer Notation
Brian Moseley and Megan Lavengood
Pitch-Class Sets, Normal Order, and Transformations
Set Class and Prime Form
Interval-Class Vectors
Analyzing with Set Theory (or not!)
Mark Gotham and Megan Lavengood
Diatonic Modes
Collections
Mark Gotham; Megan Lavengood; Brian Moseley; and Kris Shaffer
Analyzing with Modes, Scales, and Collections
Basics of Twelve-Tone Theory
Mark Gotham and Brian Moseley
Naming Conventions for Rows
Row Properties
Analysis Examples - Webern Op. 21 and 24
Composing with Twelve Tones
History and Context of Serialism
Core Principles of Orchestration
Subtle Color Changes
Transcription from Piano
Harmony Anthology
Meter Anthology
Twelve-Tone Anthology
Digital Workbook
Kyle Gullings
PDF Workbook
Intervallic Structure in Twelve-Tone Rows
Row Operations
Invariance
Analyzing Twelve-Tone Music
Symmetry and Centricity
Complements
Common Tones under Transposition
Melodic-harmonic divorce
Analyzing a post-tonal piece from scratch
Analyzing post-tonal music
Diatonic Sequences in Middles (in progress--no examples yet)
Vocal Music: Song Forms
Rhythmic Cycles
Introduction to thoroughbass
A brief history of basso continuo keyboard-style voice-leading
Composing in basso-continuo style
Style and tendency
Tendency tones and functional harmonic dissonances
Melodic keyboard-style voice-leading
Keyboard-style voice-leading schemas
Embellishing tones
Generating Roman numerals from a figured bass line
Galant Schemas – continuation patterns
Style Guide
Brian Exploring Press Books
John Explores HP5
Navigating HTML
Twentieth-Century Rhythmic Techniques
Samuel Brady
Mediants
Examples for Sight-counting and Sight-singing: Level 1
Levi Langolf
Examples for Sight-counting and Sight-singing: Level 2
Hypermeter
Metrical Dissonance
Chromatically altered subdominant chords
Applied chords
Modal mixture
Glossary
Suggestions and Feedback
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Melodic-harmonic divorce Copyright © 2021 by Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John Peterson. All Rights Reserved.
