| Chapter |
Title |
URL |
| 1 |
Pitch notation |
https://docs.google.com/presentation/d/1wupV1pDl6FOakE4sRdy_mwECUaBjtsfg_z6yIZd9vT0/edit?usp=sharing |
| 2 |
Simple meters |
https://docs.google.com/presentation/d/1MxHyyBJkIa7OgKwbLxm1q_07cX9FQHSmtGK_Fx0suF8/edit?usp=sharing |
| 3 |
n/a |
|
| 4 |
Why key signatures? |
https://docs.google.com/presentation/d/1e0MdgaMqPjj0aWBkLP-X-mRO98Jzk1oCjQXC2U8nixc/edit?usp=sharing |
| 5 |
Intro to intervals |
https://docs.google.com/presentation/d/1M1PmwxeD1m0nY07H-8GrTOW4X4RpYp21hJ3RCPJrv7E/edit?usp=sharing |
| 6 |
n/a |
|
| 7 |
Compound meters |
https://docs.google.com/presentation/d/1R6dd8GvGwtOtttlU-pQOrspWWbb2OV2Nu4g1NGaWDFE/edit?usp=sharing |
| 8 |
n/a |
|
| 9 |
n/a |
|
| 10 |
n/a |
|
| 11 |
n/a |
|
| 12 |
n/a |
|
| 13 |
n/a |
|
| 14 |
n/a |
|
| 15 |
Nashville numbers |
https://docs.google.com/presentation/d/1Y1pDlVeDAb_mi4j_LeVZXjIdrjD4e7WP0khWKrWweYk/edit?usp=sharing |
| 16 |
n/a |
|
| 17 |
Melody |
https://docs.google.com/presentation/d/1HqzxbpQJ8IldZOlfQWjbEuaonjGnFH_yVed625mzbu4/edit#slide=id.p |
| 18 |
Sequence and uses of the mediant |
https://docs.google.com/presentation/d/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA/edit?usp=sharing |
| 19 |
n/a |
|
| 20 |
n/a |
|
| 21 |
Intro to two-part counterpoint |
https://docs.google.com/presentation/d/1xa8o4x7v8JXHp43c4sa73GsvZViXD9o9qVI7FXolNI4/edit?usp=sharing |
| 22 |
n/a |
|
| 23 |
n/a |
|
| 24 |
n/a |
|
| 25 |
Intro to SATB part writing |
https://docs.google.com/presentation/d/1eop2VL3fw-Rlmfk-uirXwtj4GJvURQ62jEx6aLeTnGE/edit?usp=sharing |
| 26 |
n/a |
|
| 27 |
n/a |
|
| 28 |
Instrument transpositions and ranges |
https://docs.google.com/presentation/d/1IuPCeQsg6fkBj6En3NMV-_4ulKcuWN3DkZQaHNZmLmI/edit?usp=sharing |
| 29 |
n/a |
|
| 30 |
n/a |
|
| 31 |
n/a |
|
| 32 |
n/a |
|
| 33 |
Modulation to closely related keys |
https://docs.google.com/presentation/d/1SGydzJopcOsX9mIe0xllQ34GHASRFVoX3_jbhYua-Fc/edit?usp=sharing |
| 34 |
Binary form |
https://docs.google.com/presentation/d/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew/edit?usp=sharing |
| 35 |
n/a |
|
| 36 |
n/a |
|
| 37 |
Form in pop and rock |
https://docs.google.com/presentation/d/1gntt0Z-iaTXbrrwLNGqICTnYdSux3Qk8XIVd2lokYrk/edit?usp=sharing |
| 38 |
Chromatic mediants |
https://docs.google.com/presentation/d/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk/edit?usp=sharing |
| 39 |
n/a |
|
| 40 |
Mode mixture |
https://docs.google.com/presentation/d/13PbCR1DMP9kPJxMBpiIXI1AZErphKV9Ho6ytDErV8Sw/edit?usp=sharing |
| 41 |
N6 slides |
https://docs.google.com/presentation/d/17Y62PjdtD0R-xYGoH6jD-mQt-6OsmqzRRpkuHjsgwM4/edit?usp=sharing |
| 42 |
Augmented sixth chords |
https://docs.google.com/presentation/d/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4/edit?usp=sharing |
| 43 |
Descending tetrachord |
https://docs.google.com/presentation/d/1_pwGyBepzfq7vvVIOYUbz3p3VS2hemBYlv0ejJ69Fuk/edit?usp=sharing |
| 44 |
n/a |
|
| 45 |
n/a |
|
| 46 |
n/a |
|
| 47 |
Extended tertian chords |
https://docs.google.com/presentation/d/1RT503MHghxNg_J6NQ0jEtP9dIFCpN0INGZw7_Ewdz58/edit?usp=sharing |
| 48 |
CTo7 |
https://docs.google.com/presentation/d/1_InKJkT–ESFwRpXSkLIpzpio2HEExB_tU6qVmC5vog/edit?usp=sharing |
| 49 |
Sonata form (intro) |
https://docs.google.com/presentation/d/1c5jfqkkoFG9quUV-aNglRuny7wliP8hHV0rimuLyGWM/edit?usp=sharing |
|
Clementi Sonatina |
https://docs.google.com/presentation/d/1RObHK4sssSJg3gs861nedQgt40UcmgyHA584OAevpQU/edit?usp=sharing |
