TOPIC
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CHAPTER(S)
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| Aeolian scale |
Modal Music |
| Altered chords |
Altered Dominant Seventh Chords Augmented Triads and the Augmented Dominant Seventh |
| Alto clef |
The Alto and Tenor Clefs |
| Analysis |
Harmonic and Formal Analysis |
| Anticipation |
Nonharmonic Tones |
| Appoggiaturas |
Nonharmonic Tones |
| Arabic scale |
Symmetrical and Non-traditional Scales |
| Atonality |
20th Century Compositional Techniques |
| Augmented sixth chords |
Augmented Sixth Chords |
| Augmented triads |
Augmented Triads and the Augmented Dominant Seventh |
| Authentic cadence |
Authentic, Half, Plagal, and Deceptive Cadences |
| Binary form |
Phrases, Periods, and Forms |
| Blues |
The Blues |
| Cadences (authentic, deceptive, half, plagal) |
Authentic, Half, Plagal, and Deceptive Cadences |
| Cadences (Phrygian) |
Authentic, Half, Plagal, and Deceptive Cadences Modal Music |
| Cadential extensions |
The Pre-Dominant Family |
| Choral voice ranges |
Triads in Root Position |
| Choral voicing |
Triads in Root Position |
| Chord symbols |
Figured Bass and Commercial Chord Symbols |
| Chromaticism |
Chromatic Harmony |
| Chromatic half cadence |
Secondary Dominants |
| Chromatic harmony |
Chromatic Harmony |
| Chromatic modulation |
Modal Borrowing Neapolitan Chord Enharmonic Modulation and Other Types of Modulation |
| Chromatic scale |
Chromatic Harmony Symmetrical and Non-traditional Scales |
| Circle of fifths |
Review: Key Signatures, Scales, Triads, Intervals Secondary Triads in Root Position Diatonic Sequences Chromatic Sequences |
| Close spacing |
Triads in Root Position Compositional Textures Based on SATB |
| Clusters |
20th Century Compositional Techniques |
| Commercial chord symbols (guidelines) |
Primary Triads in First Inversion Figured Bass and Commercial Chord Symbols |
| Common chord modulation |
Common Chord / Pivot Chord Modulation |
| Common-tone connection |
Connecting Primary Triads in Root Position |
| Common-tone modulation |
Enharmonic Modulation and Other Types of Modulation |
| Common tones |
Connecting Primary Triads in Root Position Secondary Triads in Root Position |
| Contrary motion |
Connecting Primary Triads in Root Position |
| Counterpoint |
Introduction to Two-Part Counterpoint |
| Deceptive cadence / resolution |
Authentic, Half, Plagal, and Deceptive Cadences Secondary Dominants The Pre-Dominant Family |
| Diatonic chords |
Diatonic Triads in Major and Minor Keys Diatonic Seventh Chords |
| Diatonic (church) modes |
Modal Music |
| Diminished intervals |
Review: Key Signatures, Scales, Triads, Intervals |
| Diminished triads |
Review: Key Signatures, Scales, Triads, Intervals |
| Diminished seventh chords |
Diatonic Seventh Chords Leading Tone Seventh Chord Secondary Diminished Sevenths Embellishing Diminished Seventh Chords Enharmonic Modulation and Other Types of Modulation |
| Direct modulation |
Enharmonic Modulation and Other Types of Modulation |
| Direct or hidden fifths/octaves |
Errors in Four-Part Writing |
| Dissonances |
Dominant Seventh Chord in Root Position Nonharmonic Tones |
| Dominant ninth chords |
The Development of 9th, 11th, and 13th Chords ii7 – V7 – I7 Progressions with Ninth and Thirteenth Chords |
| Dominant seventh chord |
Dominant Seventh Chord in Root Position Secondary Dominants Augmented Triads and the Augmented Dominant Seventh Altered Dominant Seventh Chords The Tonic, Subdominant, and Dominant Families as Tall Chords |
| Dominant seventh chord inversions |
Inversions of the Dominant Seventh Chord |
| Dominant triads in root position |
Diatonic Triads in Major and Minor Keys Connecting Primary Triads in Root Position |
| Dominant triads in first inversion |
Primary Triads in First Inversion |
| Dominant triads in second inversion |
Linear Six-Four Chords |
| Dorian scale |
Modal Music |
| Doubling |
Guidelines for Doubling in SATB Writing |
| Doubling in altered chords |
Altered Dominant Seventh Chords |
| Doubling in augmented sixth chords |
Augmented Sixth Chords |
| Doubling in dominant seventh inversions |
Inversions of the Dominant Seventh Chord |
| Doubling in dominant seventh chords |
Dominant Seventh Chord in Root Position |
| Doubling in dominant chord |
Connecting Primary Triads in Root Position |
| Doubling guidelines |
Guidelines for Doubling in SATB Writing |
| Doubling in leading tone chord |
Secondary Triads in First Inversion Leading Tone Seventh Chord |
| Doubling in mediant chord |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Doubling in Neapolitan chord |
Neapolitan Chord |
| Doubling in submediant chords |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Doubling in supertonic chords |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Doubling in six-four chords |
Cadential Six-Four Chord Linear Six-Four Chords |
| Doubling in tonic chords |
Triads in Root Position Primary Triads in First Inversion Cadential Six-Four Chord |
| Enharmonic German sixth chord |
Augmented Sixth Chords |
| Enharmonic keys |
Review: Key Signatures, Scales, Triads, Intervals |
| Escape tones |
Nonharmonic Tones |
| Figured-bass symbols (guide) |
Figured Bass and Commercial Chord Symbols |
| Folk music |
Modal Music |
| Form |
Phrases, Periods, and Forms Harmonic and Formal Analysis |
| Free resolution |
Dominant Seventh Chord in Root Position |
| French sixth chords |
Augmented Sixth Chords |
| Fugue |
Phrases, Periods, and Forms |
| German sixth chords |
Augmented Sixth Chords |
| Half diminished seventh chords |
Diatonic Seventh Chords Leading Tone Seventh Chord Secondary Diminished Sevenths |
| Half cadence |
Authentic, Half, Plagal, and Deceptive Cadences |
| Half cadence (Chromatic) |
Secondary Dominants |
| Half cadence (Phrygian) |
Authentic, Half, Plagal, and Deceptive Cadences |
| Harmonic minor scale |
Diatonic Triads in Major and Minor Keys |
| Hidden or direct fifths or octaves |
Errors in Four-Part Writing |
| Imitation |
Canons Canons Introduction to Two-Part Counterpoint |
| Imperfect authentic cadence |
Authentic, Half, Plagal, and Deceptive Cadences |
| Intervals |
Review: Key Signatures, Scales, Triads, Intervals |
| Inversions of triads |
Primary Triads in First Inversion Secondary Triads in First Inversion Linear Six-Four Chords |
| Inversions of dominant seventh chord |
Inversions of the Dominant Seventh Chord |
| Inversions of augmented sixth chords |
Augmented Sixth Chords |
| Jazz |
The Harmonic Structure and Forms of Jazz Standards |
| Jazz – Blues |
The Blues |
| Jazz – Chord symbols |
Figured Bass and Commercial Chord Symbols |
| Jazz – Chord voicing |
Voicings of the Tonic, Dominant, and Subdominant Chords |
| Jazz – History |
The Harmonic Structure and Forms of Jazz Standards |
| Jazz – Tall chords |
The Development of 9th, 11th, and 13th Chords The Tonic, Subdominant, and Dominant Families as Tall Chords |
| Jazz – Walking bass |
The Blues |
| Key signatures |
Review: Key Signatures, Scales, Triads, Intervals |
| Keyboard textures |
Compositional Textures Based on SATB |
| Keyboard voicing |
Triads in Root Position |
| Leading tone seventh chords |
Leading Tone Seventh Chord |
| Leading tone triads |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Linear chords |
Linear Six-Four Chords |
| Linear embellishing diminished seventh chord |
Embellishing Diminished Seventh Chords |
| Linear six-four chords |
Linear Six-Four Chords |
| Major scales |
Review: Key Signatures, Scales, Triads, Intervals |
| Major triads |
Review: Key Signatures, Scales, Triads, Intervals |
| Matrix in 12-tone music |
20th Century Compositional Techniques |
| Mediant triads |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Melodic minor scale |
Review: Key Signatures, Scales, Triads, Intervals |
| Melody – Guidelines |
Techniques for Creating a Melody |
| Meter |
Introduction |
| Meter – Irregular |
More Advanced Rhythms |
| Minimalism |
20th Century Compositional Techniques |
| Minor intervals |
Review: Key Signatures, Scales, Triads, Intervals |
| Minor scales |
Review: Key Signatures, Scales, Triads, Intervals |
| Minor seventh chords |
Diatonic Seventh Chords |
| Minor triads |
Triads in Root Position |
| Mixolydian scale |
Modal Music |
| Modal cadences |
Modal Music |
| Modality / Modal Music |
Modal Music |
| Modal scales |
Modal Music |
| Modulation to closely related keys |
Common Chord / Pivot Chord Modulation |
| Modulation by common tone |
Enharmonic Modulation and Other Types of Modulation |
| Modulation – Direct |
Enharmonic Modulation and Other Types of Modulation |
| Modulation – Phrase |
Enharmonic Modulation and Other Types of Modulation |
| Modulation with sequences |
Chromatic Sequences |
| Motive |
Phrases, Periods, and Forms |
| Natural minor scale |
Review: Key Signatures, Scales, Triads, Intervals |
| Neapolitan chord |
Neapolitan Chord |
| Neighboring chords |
Linear Six-Four Chords |
| Neighboring tones |
Nonharmonic Tones |
| Ninth chords |
The Development of 9th, 11th, and 13th Chords The Tonic, Subdominant, and Dominant Families as Tall Chords |
| Non-common tone connection |
Connecting Primary Triads in Root Position |
| Nondominant ninth chords |
The Development of 9th, 11th, and 13th Chords The Tonic, Subdominant, and Dominant Families as Tall Chords |
| Nonfunctional harmony |
20th Century Compositional Techniques |
| Nonharmonic Tones |
Nonharmonic Tones |
| Nonharmonic Tones – Anticipation |
Nonharmonic Tones |
| Nonharmonic Tones – Appoggiatura |
Nonharmonic Tones |
| Nonharmonic Tones – Escape |
Nonharmonic Tones |
| Nonharmonic Tones – Incomplete Neighbor |
Nonharmonic Tones |
| Nonharmonic Tones – Neighbor |
Nonharmonic Tones |
| Nonharmonic Tones – Nonchord |
Nonharmonic Tones |
| Nonharmonic Tones – Passing |
Nonharmonic Tones |
| Nonharmonic Tones – Pedal Point |
Nonharmonic Tones |
| Nonharmonic Tones – Suspension |
Nonharmonic Tones |
| Oblique motion |
Motion Between Voices |
| Octatonic scale |
Symmetrical and Non-traditional Scales |
| Open spacing |
Triads in Root Position |
| Overtone series |
Symmetrical and Non-traditional Scales |
| Pandiatonicism |
20th Century Compositional Techniques |
| Parallel fifths |
Connecting Primary Triads in Root Position Errors in Four-Part Writing |
| Parallel keys |
Review: Key Signatures, Scales, Triads, Intervals |
| Parallel motion |
Motion Between Voices |
| Parallel phrases |
Phrases, Periods, and Forms |
| Parallelism |
20th Century Compositional Techniques |
| Passing chords |
Inversions of the Dominant Seventh Chord Linear Six-Four Chords |
| Passing tones |
Nonharmonic Tones |
| Pedal tones |
Nonharmonic Tones |
| Pentatonic music |
Pentatonic Music |
| Pentatonic scales |
Pentatonic Music |
| Perfect authentic cadence |
Authentic, Half, Plagal, and Deceptive Cadences |
| Perfect intervals |
Review: Key Signatures, Scales, Triads, Intervals |
| Period |
Phrases, Periods, and Forms |
| Phrygian cadence |
Authentic, Half, Plagal, and Deceptive Cadences Modal Music |
| Phrygian scale |
Modal Music |
| Pitch class set |
20th Century Compositional Techniques |
| Plagal cadence |
Authentic, Half, Plagal, and Deceptive Cadences |
| Planing |
20th Century Compositional Techniques |
| Polychord |
20th Century Compositional Techniques |
| Polymodality |
20th Century Compositional Techniques |
| Polytonality |
20th Century Compositional Techniques |
| Primary triads |
Connecting Primary Triads in Root Position Primary Triads in First Inversion Linear Six-Four Chords |
| Quadruple meter |
Introduction |
| Quartal harmony |
20th Century Compositional Techniques |
| Quarter-tone scale |
20th Century Compositional Techniques |
| Quintuple meter |
More Advanced Rhythms |
| Ranges (choral) |
Triads in Root Position |
| Relative minor |
Review: Key Signatures, Scales, Triads, Intervals |
| Riff |
The Blues |
| Rondo form |
Phrases, Periods, and Forms |
| Root position – Connection of I and IV |
Connecting Primary Triads in Root Position |
| Root position – Dominant seventh chords |
Dominant Seventh Chord in Root Position |
| Root position – Tonic triads |
Connecting Primary Triads in Root Position |
| Scales – Arabic |
Symmetrical and Non-traditional Scales |
| Scales – Chromatic |
Chromatic Harmony Symmetrical and Non-traditional Scales |
| Scales – Diatonic |
Review: Key Signatures, Scales, Triads, Intervals |
| Scales – Octatonic |
Symmetrical and Non-traditional Scales |
| Scales – Pentatonic |
Pentatonic Music |
| Scales – Quarter-tone |
20th Century Compositional Techniques |
| Scales – Whole-tone |
Symmetrical and Non-traditional Scales |
| Second inversion chords |
Cadential Six-Four Chord Linear Six-Four Chords |
| Secondary dominants |
Secondary Dominants |
| Secundal harmony |
20th Century Compositional Techniques |
| Sequences |
Secondary Triads in Root Position Secondary Triads in First Inversion Diatonic Seventh Chords Diatonic Sequences Chromatic Sequences ii7 – V7 – I7 Progressions in Cycles/Sequences Perfect Circle of Fifths Sequence with Dominant 9ths and 13ths |
| Seventh chords – Diatonic |
Diatonic Seventh Chords |
| Seventh chords – Dominant |
Dominant Seventh Chord in Root Position Inversions of the Dominant Seventh Chord Secondary Dominants Augmented Triads and the Augmented Dominant Seventh Altered Dominant Seventh Chords |
| Seventh chords – Embellishing diminished |
Embellishing Diminished Seventh Chords |
| Seventh chords – Leading tone |
Leading Tone Seventh Chord Secondary Diminished Sevenths |
| Seventh chords – Nondominant |
Diatonic Seventh Chords |
| Similar motion |
Motion Between Voices |
| Six-four chords – Cadential tonic |
Cadential Six-Four Chord |
| Six-four chords – Linear |
Linear Six-Four Chords |
| Sonata form |
Phrases, Periods, and Forms |
| Stem directions |
Triads in Root Position |
| Stepwise motion |
Connecting Primary Triads in Root Position Techniques for Creating a Melody |
| Subdominant chords |
Connecting Primary Triads in Root Position Primary Triads in First Inversion Linear Six-Four Chords The Pre-Dominant Family |
| Submediant chords |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Supertonic seventh chords |
Diatonic Seventh Chords Modal Borrowing |
| Supertonic chords |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Suspensions |
Nonharmonic Tones |
| Syncopation |
Subdivision of the Beat into Two Parts Subdivision of the Beat into Four Parts |
| Tendency tones |
Dominant Seventh Chord in Root Position |
| Tenor clef |
The Alto and Tenor Clefs |
| Ternary form |
Phrases, Periods, and Forms |
| Tetrachords |
Symmetrical and Non-traditional Scales 20th Century Compositional Techniques |
| Textures – Choral |
Triads in Root Position Compositional Textures Based on SATB |
| Textures – Keyboard |
Triads in Root Position |
| Tone row |
20th Century Compositional Techniques |
| Tonic six-four chords, cadential |
Cadential Six-Four Chord |
| Tonic triads in first inversion |
Primary Triads in First Inversion |
| Tonic triads in root position |
Diatonic Triads in Major and Minor Keys Connecting Primary Triads in Root Position |
| Triads – Connection of IV and V |
Connecting Primary Triads in Root Position |
| Triads – Diatonic |
Review: Key Signatures, Scales, Triads, Intervals Diatonic Triads in Major and Minor Keys |
| Triads in root position |
Triads in Root Position Secondary Triads in Root Position |
| Triads – Major |
Review: Key Signatures, Scales, Triads, Intervals Diatonic Triads in Major and Minor Keys |
| Triads – Minor |
Review: Key Signatures, Scales, Triads, Intervals Diatonic Triads in Major and Minor Keys |
| Triads – Mediant |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Triads – Neapolitan |
Neapolitan Chord |
| Triads – Primary |
Connecting Primary Triads in Root Position Primary Triads in First Inversion Linear Six-Four Chords |
| Triads – Subdominant |
Connecting Primary Triads in Root Position Primary Triads in First Inversion Linear Six-Four Chords |
| Triads – Submediant |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Triads – Subtonic (Leading tone) |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Triads – Supertonic |
Secondary Triads in Root Position Secondary Triads in First Inversion |
| Triads – Variants |
Modal Borrowing |
| Triple meter |
Subdivision of the Beat into Two Parts Subdivision of the Beat into Four Parts |
| Turnaround |
Short Progressions and Turnarounds |
| Twelve-tone serialism |
20th Century Compositional Techniques |
| Twentieth century techniques |
Introduction to 20th Century Music 20th Century Compositional Techniques |
| Variation form |
Phrases, Periods, and Forms |
| Voice leading guidelines |
Errors in Four-Part Writing |
| Voicing |
Triads in Root Position |
| Whole tone scale |
Symmetrical and Non-traditional Scales |