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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