Index of exercises
Chapter 1 Pitch notation
Chapter 2 Simple meters
Ex2.2 Beaming and barring measures
Ex2.3 Practicing rhythmic dictation
Chapter 3 Major scales
Chapter 4 Major key signatures
Ex4.1 Major scales and key signatures
Chapter 5 Intervals
Ex5.1 Drills with major and minor intervals
Ex5.2 Analysis with Judith Cloud Six Forays mvt 2
Chapter 6 Minor scales and key signatures
Chapter 7 Compound meters
Chapter 8 Modes and other scales
Ex8.5 Whole tone scales in context
Ex8.6 Pentatonic scales in context
Chapter 9 Triads
Chapter 10 Seventh chords
Ex10.1 Seventh chords in context
Ex10.2 Analysis with triads and sevenths
Ex10.3 Drills with triads and sevenths
Chapter 11 Lead sheet symbols
Ex11.1 Chord symbols in Shenandoah
Ex11.2 Lead sheet chord symbols identification
Ex11.4 Transcription with triads in pop music
Chapter 12 Figured bass
Ex12.1 Figured bass identification
Ex12.2 Figured bass chord construction
Chapter 13 Texture
Ex13.1 Analysis with figured bass
Chapter 14 Roman numerals
Ex14.1 Roman numeral identification
Ex14.2 Roman numeral chord construction
Chapter 15 Nashville numbers
Ex15.1 Creating a Nashville number chart
Chapter 16 Harmonic function and cadences
Ex16.1 Harmonic function in context
Ex16.2 Analysis with I, IV, and V(7)
Ex16.3 Analysis of J. S. Bach’s “Wachet Auf”
Chapter 17 Melody
Chapter 18 Sequence and uses of the mediant
Ex18.2 Creating melodic sequences
Ex18.3 Composing a melody with sequence
Chapter 19 Phrases and periods
Ex19.1 Analysis with phrases and periods
Ex19.2 Compose a parallel period
Ex19.3 Analysis of Amy Beach Gavotte
Chapter 20 Melody harmonization
Chapter 21 Two-part counterpoint
Ex21.2 Writing two-part counterpoint
Chapter 22 Harmony in pop and rock
Ex22.1 Aural harmony in pop and rock ID
Chapter 23 Text setting
Ex23.1 Crash course in text setting
Chapter 24 Chord motion and voicing
Ex24.1 Chord motion and voicing
Chapter 25 SATB part writing
Ex25.1 Chord connections following model 1
Ex25.2 Chord connections following model 2
Ex25.3 Chord connections following model 3
Ex25.4 Preliminary part writing
Ex25.5 Part writing with I, IV, and V
Ex25.8 Part writing with first inversion chords
Chapter 26 Chords in second inversion
Ex26.1 Analysis with chords in all inversions
Ex26.2 Part writing with chords in all inversions
Chapter 27 Composing out progressions
Ex27.1 Composing out a progression
Chapter 28 Instrument transpositions and ranges
Ex28.1 Analysis of Barbers First Symphony
Ex28.2 Writing for transposing instruments
Ex28.3 Analysis with transposing instruments in Hailstork’s Done Made My Vow
Chapter 29 Non-chord tones
Ex29.1 Identifying non-chord tones
Ex29.2 Analysis with non-chord tones
Chapter 30 Composite meters
Ex30.1 Identifying composite meters aurally
Chapter 31 Secondary dominants
Ex31.1 Spelling secondary dominants
Ex31.2 Analysis with secondary dominants
Ex31.3 Part writing with secondary dominants
Ex31.4 Error detection with secondary dominants part writing
Chapter 32 Secondary diminished chords
Ex32.1 Spelling secondary chords
Ex32.2 Analysis with secondary chords
Chapter 33 Modulation to closely related keys
Ex33.1 Finding closely related keys
Ex33.2 Analysis with modulation
Chapter 34 Binary form
Ex34.2 Contextual listening with form
Chapter 35 Ternary form
Ex35.1 Form analysis Haydn Minuet and Trio
Chapter 36 Strophic form
Ex36.1 Analysis with strophic form
Chapter 37 Form in pop and rock
Ex37.1 Aural analysis with form in pop
Chapter 38 Chromatic mediants
Ex38.1 Chromatic mediants in context
Ex38.2 Chromatic mediant relations
Ex38.3 Part writing with chromatic mediant
Chapter 39 Modulation by common tone
Ex39.1 Analysis with chromatic mediants
Chapter 40 Mode mixture
Ex40.2 Analysis with borrowed chords
Chapter 41 Neapolitan sixth
Ex41.5 Melodic dictation with flat 2
Ex41.6 Contextual listening with the Neapolitan sixth
Ex41.7 Contextual listening with Radiohead A Wolf at the Door
Chapter 42 Augmented sixth chords
Ex42.2 Analysis with augmented sixth chords
Ex42.3 Contextual listening with augmented sixth chords
Ex42.4 Aural ID of predominant chords
Ex42.5 Harmonic dictation with chromatic predominant chords
Ex42.6 Contextual listening and transcription with +6
Ex42.8 Analysis with N6 and +6 chords
Chapter 43 Descending tetrachord bass line
Ex43.1 Analysis with descending tetrachord bass line
Ex43.2 Harmonic dictation with descending tetrachord bass line
Chapter 44 Enharmonic reinterpretation of V7 and Ger.+6
Ex44.1 Chord spelling and reinterpretation (for screen reader)
Ex44.1 Chord spelling and reinterpretation (printer-friendly)
Ex44.2 Analysis with enharmonic reinterpretation
Ex44.3 Harmonic dictation with enharmonic reinterpretation
Chapter 45 Enharmonic reinterpretation of viio7
Ex45.1 Chord spelling and reinterpretation (for screen reader)
Ex45.1 Chord spelling and reinterpretation (printer-friendly)
Ex45.2 Analysis with enharmonic interpretation
Chapter 46 The “flatting” process
Chapter 47 Extended tertian chords and altered dominants
Ex47.1 Spelling dominant ninths and thirteenths (for screen reader)
Ex47.1 Spelling dominant ninths and thirteenths (printer-friendly)
Ex47.2 Spelling extended tertian chords
Ex47.3 Spelling altered dominants
Ex47.4 Chord spelling (for screen reader)
Ex47.4 Chord spelling (printer-friendly)
Ex47.5 Analysis with extended tertian and altered dominant chords
