| Chapter |
Playlist name |
URL |
| 1 |
Stravinsky’s Rite of Spring |
|
| 2 |
Aural meter ID (simple meters only) |
|
|
Simple meters |
|
| 3 |
Major scales in context |
|
| 4 |
Why key signatures? |
|
| 5 |
Interval ID (aural) |
|
| 6 |
Minor scales in context |
|
| 7 |
Compound meter |
|
|
Aural meter ID |
|
| 8 |
Modes & other scales |
|
| 9 |
Triads in context |
|
| 10 |
Seventh chords in context |
|
| 11 |
Lead sheet realization |
|
|
Transcription with triads in pop music |
|
| 12 |
Figured bass |
|
| 13 |
Figured bass analysis |
|
|
Chords in various textures |
|
| 14 |
n/a |
|
| 15 |
Nashville numbers |
|
| 16 |
Harmonic function examples |
|
|
Cadences in context |
|
|
Analysis with I, IV, and V(7) |
|
| 17 |
Melody |
|
| 18 |
Sequence |
|
|
Uses of the mediant |
|
| 19 |
Phrases and periods |
|
| 20 |
Melody harmonization |
|
| 21 |
Two-part counterpoint |
|
| 22 |
Harmony in pop and rock |
|
| 23 |
Text setting |
|
| 24 |
Chord motion and voicing |
|
| 25 |
n/a |
|
| 26 |
Second inversion chords |
|
| 27 |
n/a |
|
| 28 |
Instrument transpositions and ranges |
|
| 29 |
Non-chord tones |
|
| 30 |
Composite meters |
|
| 31 |
Secondary dominants |
|
| 32 |
Secondary diminished chords |
|
| 33 |
Modulation to closely related keys |
|
| 34 |
Binary form |
|
| 35 |
Ternary form |
|
| 36 |
Strophic form |
|
| 37 |
Form in pop and rock |
|
|
Aural analysis (form in pop) |
|
| 38 |
Chromatic mediants |
|
| 39 |
Modulation by common tone |
|
| 40 |
Mode mixture |
|
| 41 |
Neapolitan sixth |
|
| 42 |
Augmented sixth chords |
|
| 43 |
Descending tetrachord |
|
| 44 |
Enharmonic reinterpretation with Ger.+6 and V7 |
|
| 45 |
Enharmonic reinterpretation with viio7 |
https://open.spotify.com/playlist/4hpnDpouWc1ChGFApn9Bhg?si=630a0675e76d4849 |
| 46 |
The “flatting process” |
https://open.spotify.com/playlist/4EXsRyUWPD6AnIUlvGVFdm?si=c62b3c1c2f654631 |
| 47 |
Extended tertian chords and altered dominants |
|
| 48 |
n/a |
|
| 49 |
Sonata form |
|
