{"id":895,"date":"2023-05-30T16:26:43","date_gmt":"2023-05-30T16:26:43","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=895"},"modified":"2025-06-20T19:07:58","modified_gmt":"2025-06-20T19:07:58","slug":"index-of-videos","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/index-of-videos\/","title":{"raw":"Index of videos","rendered":"Index of videos"},"content":{"raw":"<\/colgroup>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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KEYBOARD<\/td>\r\nK01<\/td>\r\nHow to set up a key at the piano: Keyboard progression 1<\/td>\r\n6:06<\/td>\r\nhttps:\/\/youtu.be\/nqvsqEVMd5g<\/a><\/td>\r\n<\/tr>\r\n
HARMONIC DICTATION<\/td>\r\nH01<\/td>\r\nHow to do a harmonic dictation<\/span><\/td>\r\n6:31<\/td>\r\nhttps:\/\/youtu.be\/qZqyJ4v-fQI<\/a><\/td>\r\n<\/tr>\r\n
RHYTHM<\/td>\r\nR01<\/td>\r\nIntro to rhythm and meter<\/td>\r\n9:48<\/td>\r\nhttps:\/\/vimeo.com\/998227090?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR02<\/td>\r\nIntro to conducting patterns<\/td>\r\n4:35<\/td>\r\nhttps:\/\/vimeo.com\/998222315?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR03<\/td>\r\nRhythm reading<\/td>\r\n8:47<\/td>\r\nhttps:\/\/youtu.be\/ZdfaMois5z0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR04<\/td>\r\nIntro to compound meters<\/td>\r\n5:30<\/td>\r\nhttps:\/\/youtu.be\/ulg0tbscx2E<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR05<\/td>\r\nCompound meters in context<\/td>\r\n6:09<\/td>\r\nhttps:\/\/youtu.be\/KiejRh3s-qM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR06<\/td>\r\nAural meter ID<\/td>\r\n9:21<\/td>\r\nhttps:\/\/youtu.be\/Mn-QYsF9ihk<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR07<\/td>\r\nRhythm reading in compound meters<\/td>\r\n7:03<\/td>\r\nhttps:\/\/youtu.be\/rM5raYd5eIo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR08<\/td>\r\nIntro to composite meters<\/td>\r\n11:55<\/td>\r\nhttps:\/\/youtu.be\/yyaukn6h2oE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR09<\/td>\r\nHow to do rhythmic dictation<\/td>\r\n9:27<\/td>\r\nhttps:\/\/youtu.be\/nYN376f3TMI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR10<\/td>\r\nRhythmic dictation practice<\/td>\r\n3:52<\/td>\r\nhttps:\/\/youtu.be\/UwcR80UKCQ0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR11<\/td>\r\nRhythm reading in [latex]{}^3_4[\/latex], part 1<\/td>\r\n5:04<\/td>\r\nhttps:\/\/youtu.be\/tZY5QXz5ZX0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR12<\/td>\r\nRhythm reading in [latex]{}^3_4[\/latex], part 2<\/td>\r\n2:31<\/td>\r\nhttps:\/\/youtu.be\/FUNNVO-6z1I<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR13<\/td>\r\nRhythm reading in [latex]{}^4_4[\/latex], part 1<\/td>\r\n4:28<\/td>\r\nhttps:\/\/youtu.be\/MWq-aaTQ1o0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nR14<\/td>\r\nRhythm reading in [latex]{}^4_4[\/latex], part 2<\/td>\r\n5:15<\/td>\r\nhttps:\/\/youtu.be\/5CdGv-caevM<\/a><\/td>\r\n<\/tr>\r\n
SINGING<\/td>\r\nS01<\/td>\r\nSolfege and Kodaly hand signs<\/td>\r\n2:08<\/td>\r\nhttps:\/\/youtu.be\/fzt1vbACOKg<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS02<\/td>\r\nPitch patterns in major keys<\/td>\r\n5:50<\/td>\r\nhttps:\/\/youtu.be\/Ia8IgnqvqQE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS03<\/td>\r\nWarm up in B[latex]\\flat[\/latex] major<\/td>\r\n1:18<\/td>\r\nhttps:\/\/youtu.be\/7JCrIZqPbT4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS04<\/td>\r\nWarm up in D major<\/td>\r\n0:30<\/td>\r\nhttps:\/\/youtu.be\/HAb4Bb7qE6s<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS05<\/td>\r\nWarm up in F major<\/td>\r\n0:31<\/td>\r\nhttps:\/\/youtu.be\/BJj2Tm73r3Q<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS06<\/td>\r\nSol mi do la singing exercise<\/td>\r\n1:55<\/td>\r\nhttps:\/\/youtu.be\/KVd4cIuSGqA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS07<\/td>\r\nPitch patterns in minor keys<\/td>\r\n7:39<\/td>\r\nhttps:\/\/youtu.be\/wMMxDITUcQQ<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS08<\/td>\r\nWarm up in B[latex]\\flat[\/latex] minor<\/td>\r\n0:29<\/td>\r\nhttps:\/\/youtu.be\/BWsmzerTJTs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS09<\/td>\r\nWarm up in D minor<\/td>\r\n0:27<\/td>\r\nhttps:\/\/youtu.be\/7QO72SEX_FA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS10<\/td>\r\nWarm up in F minor<\/td>\r\n0:27<\/td>\r\nhttps:\/\/youtu.be\/Aw3yKVC-Et8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS11<\/td>\r\nPracticing four-note pitch patterns<\/td>\r\n3:58<\/td>\r\nhttps:\/\/youtu.be\/tGxLmqFN1xw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS12<\/td>\r\nIntro to sight singing melodies (nos. 1\u20133)<\/td>\r\n8:35<\/td>\r\nhttps:\/\/youtu.be\/nOiuo3tLDeo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS13<\/td>\r\nPractice singing: melody no. 4<\/td>\r\n1:56<\/td>\r\nhttps:\/\/youtu.be\/tDD9fjTr5NA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS14<\/td>\r\nPractice singing: melody no. 5<\/td>\r\n1:50<\/td>\r\nhttps:\/\/youtu.be\/sqD0CM8eNpM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS15<\/td>\r\nPractice singing: melody no. 6<\/td>\r\n2:24<\/td>\r\nhttps:\/\/youtu.be\/H6IqgTgX0No<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS16<\/td>\r\nPractice singing: melody no. 7<\/td>\r\n1:57<\/td>\r\nhttps:\/\/youtu.be\/wuQYZdhLuTo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS17<\/td>\r\nPractice singing: melody no. 8<\/td>\r\n2:55<\/td>\r\nhttps:\/\/youtu.be\/Xwi06nrd6is<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS18<\/td>\r\nPractice singing: melody no. 9<\/td>\r\n2:06<\/td>\r\nhttps:\/\/youtu.be\/eUo8vmnln8s<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS19<\/td>\r\nPractice singing: melody no. 10<\/td>\r\n1:58<\/td>\r\nhttps:\/\/youtu.be\/WxnLrAZDXUk<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS20<\/td>\r\nPractice singing: melody no. 11<\/td>\r\n2:32<\/td>\r\nhttps:\/\/youtu.be\/pE0sPlhlSjM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS21<\/td>\r\nPractice singing: melody no. 12<\/td>\r\n1:54<\/td>\r\nhttps:\/\/youtu.be\/CLzEIY-Ad9g<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS22<\/td>\r\nPractice singing: melody no. 13<\/td>\r\n2:00<\/td>\r\nhttps:\/\/youtu.be\/CzhKxHj80tg<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS23<\/td>\r\nPractice singing: melody no. 14<\/td>\r\n1:56<\/td>\r\nhttps:\/\/youtu.be\/n9NyI6MaX0M<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS24<\/td>\r\nPractice singing: melody no. 15<\/td>\r\n1:59<\/td>\r\nhttps:\/\/youtu.be\/mYehZF5M57E<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS25<\/td>\r\nPractice singing: melody no. 16<\/td>\r\n1:31<\/td>\r\nhttps:\/\/youtu.be\/9__abXMWbPk<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS26<\/td>\r\nPractice singing: melody no. 17<\/td>\r\n1:37<\/td>\r\nhttps:\/\/youtu.be\/EbZk8O93yG8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS27<\/td>\r\nPractice singing: melody no. 18<\/td>\r\n1:56<\/td>\r\nhttps:\/\/youtu.be\/Efnsx295JpQ<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS28<\/td>\r\nPractice singing: melody no. 19<\/td>\r\n1:57<\/td>\r\nhttps:\/\/youtu.be\/OWPHqEBaAyA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS29<\/td>\r\nPractice singing: melody no. 20<\/td>\r\n1:53<\/td>\r\nhttps:\/\/youtu.be\/GXEdiuLKnHM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS30<\/td>\r\nPractice singing: melody no. 21<\/td>\r\n2:15<\/td>\r\nhttps:\/\/youtu.be\/pk6kSY6GSnw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS31<\/td>\r\nPractice singing: melody no. 22<\/td>\r\n2:01<\/td>\r\nhttps:\/\/youtu.be\/q9udBg4MeTU<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS32<\/td>\r\nChromatic solfege syllables<\/td>\r\n3:10<\/td>\r\nhttps:\/\/youtu.be\/vptOqgtYSlE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS33<\/td>\r\nCanon in A minor (melody no. 27)<\/td>\r\n4:09<\/td>\r\nhttps:\/\/youtu.be\/t2f-dysyc-I<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS34<\/td>\r\nSight singing Haydn duet<\/td>\r\n6:49<\/td>\r\nhttps:\/\/youtu.be\/aCvFrUdM0mM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS35<\/td>\r\nSight singing modulating melody<\/td>\r\n5:47<\/td>\r\nhttps:\/\/youtu.be\/QiqyztHekUo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS36<\/td>\r\nSight singing melody no. 32<\/td>\r\n4:37<\/td>\r\nhttps:\/\/youtu.be\/eZWRptQ__NI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS37<\/td>\r\nPractice singing: melody no. 23<\/td>\r\n4:00<\/td>\r\nhttps:\/\/youtu.be\/ihN2xlzsEbU<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS38<\/td>\r\nPractice singing: melody no. 24<\/td>\r\n3:49<\/td>\r\nhttps:\/\/youtu.be\/1XIs4gXOdaE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS39<\/td>\r\nPractice singing: melody no. 25<\/td>\r\n2:37<\/td>\r\nhttps:\/\/youtu.be\/ImgtU2z7aiI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS40<\/td>\r\nPractice singing: melody no. 26<\/td>\r\n4:11<\/td>\r\nhttps:\/\/youtu.be\/x1I8uKIc6wE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nS41<\/td>\r\nPractice singing: melody no. 28<\/td>\r\n5:00<\/td>\r\nhttps:\/\/youtu.be\/DjX85OLdX5Y<\/a><\/td>\r\n<\/tr>\r\n
THEORY TOPICS<\/td>\r\nT01<\/td>\r\nPitch notation and clefs<\/td>\r\n11:00<\/td>\r\nhttps:\/\/youtu.be\/dYDYpjj5_GM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT02<\/td>\r\nHow to draw treble clef<\/td>\r\n1:37<\/td>\r\nhttps:\/\/youtu.be\/WsEa1ch_3BY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT03<\/td>\r\nKeyboard layout, 8ve designations, and modifying notes<\/td>\r\n7:53<\/td>\r\nhttps:\/\/youtu.be\/yADmNs4R2iA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT04<\/td>\r\nIntro to major scales<\/td>\r\n4:02<\/td>\r\nhttps:\/\/youtu.be\/e3JuzHavtsU<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT05<\/td>\r\nMajor scales in context, part 1<\/td>\r\n5:54<\/td>\r\nhttps:\/\/youtu.be\/gKBF2k3-fJs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT06<\/td>\r\nMajor scales in context, part 2<\/td>\r\n13:29<\/td>\r\nhttps:\/\/youtu.be\/3kyckSwCMmM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT07<\/td>\r\nMajor key signatures<\/td>\r\n4:15<\/td>\r\nhttps:\/\/youtu.be\/RDTxUDIKvgo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT08<\/td>\r\nIntro to intervals<\/td>\r\n3:45<\/td>\r\nhttps:\/\/youtu.be\/SUXpKjv_nys<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT09<\/td>\r\nMajor intervals<\/td>\r\n4:37<\/td>\r\nhttps:\/\/youtu.be\/sq5W3igpeOw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT10<\/td>\r\nMinor intervals<\/td>\r\n5:17<\/td>\r\nhttps:\/\/youtu.be\/979sLNfbr3E<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT11<\/td>\r\nInterval inversion<\/td>\r\n6:40<\/td>\r\nhttps:\/\/youtu.be\/m3dXjkDKLlo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT12<\/td>\r\nPerfect intervals<\/td>\r\n9:05<\/td>\r\nhttps:\/\/youtu.be\/MG66S83pnkc<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT13<\/td>\r\nAugmented and diminished intervals<\/td>\r\n8:58<\/td>\r\nhttps:\/\/youtu.be\/7bRLGvNaByE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT14<\/td>\r\nIntro to minor scales<\/td>\r\n8:14<\/td>\r\nhttps:\/\/youtu.be\/vnxUJGSzIJE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT15<\/td>\r\nMinor scales in context<\/td>\r\n10:09<\/td>\r\nhttps:\/\/vimeo.com\/1008187640?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT16<\/td>\r\nIntro to modes<\/td>\r\n6:51<\/td>\r\nhttps:\/\/youtu.be\/2AVQkex5aCY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT17<\/td>\r\nExploring the lydian mode<\/td>\r\n7:30<\/td>\r\nhttps:\/\/youtu.be\/kchA7LVpGfs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT18<\/td>\r\nExploring the mixolydian mode<\/td>\r\n6:16<\/td>\r\nhttps:\/\/youtu.be\/lkFV1jrBGsM<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT19<\/td>\r\nExploring the phrygian mode<\/td>\r\n8:16<\/td>\r\nhttps:\/\/youtu.be\/U5JU5_WrQX4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT20<\/td>\r\nExploring the dorian mode<\/td>\r\n8:38<\/td>\r\nhttps:\/\/youtu.be\/dP-vLgqY23c<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT21<\/td>\r\nSinging demo of the modes in action<\/td>\r\n5:00<\/td>\r\nhttps:\/\/youtu.be\/cE5amD456Qw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT22<\/td>\r\nWhole tone scales<\/td>\r\n8:55<\/td>\r\nhttps:\/\/youtu.be\/mEtEWVHnJ7I<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT23<\/td>\r\nPentatonic scales<\/td>\r\n9:23<\/td>\r\nhttps:\/\/youtu.be\/s21YRuznNa8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT24<\/td>\r\nIntro to triads<\/td>\r\n6:28<\/td>\r\nhttps:\/\/youtu.be\/iQLqbpAlbDg<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT25<\/td>\r\nIntro to seventh chords<\/td>\r\n4:55<\/td>\r\nhttps:\/\/youtu.be\/PU3icmB85tE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT26<\/td>\r\nSeventh chords in context<\/td>\r\n10:28<\/td>\r\nhttps:\/\/vimeo.com\/1010389967?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT27<\/td>\r\nLead sheet symbols in 'Shenandoah'<\/td>\r\n7:04<\/td>\r\nhttps:\/\/youtu.be\/b80FQ3ZOrEw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT28<\/td>\r\nIntro to figured bass, part 1<\/td>\r\n7:54<\/td>\r\nhttps:\/\/youtu.be\/fDymJxVPmU8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT29<\/td>\r\nIntro to figured bass, part 2<\/td>\r\n5:08<\/td>\r\nhttps:\/\/youtu.be\/CiFZt6NhpS0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT30<\/td>\r\nFigured bass modification symbols<\/td>\r\n2:39<\/td>\r\nhttps:\/\/youtu.be\/-Jgu1nAtR34<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT31<\/td>\r\nIntro to texture<\/td>\r\n14:41<\/td>\r\nhttps:\/\/youtu.be\/xW4sF4thGF8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT32<\/td>\r\nRoman numerals in major and minor keys<\/td>\r\n6:58<\/td>\r\nhttps:\/\/youtu.be\/siBP7XzpPg8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT33<\/td>\r\nHarmonic function<\/td>\r\n8:56<\/td>\r\nhttps:\/\/youtu.be\/JXzkDV7rc0c<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT34<\/td>\r\nCadences in context<\/td>\r\n15:12<\/td>\r\nhttps:\/\/vimeo.com\/1008110636<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT35<\/td>\r\nChord motion and voicing<\/td>\r\n9:31<\/td>\r\nhttps:\/\/youtu.be\/HfLobE6oeE8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT36<\/td>\r\nIntro to voice leading<\/td>\r\n16:57<\/td>\r\nhttps:\/\/youtu.be\/RXU2HTy4B5E<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT37<\/td>\r\nPartwriting models for root position triads: Roots related by 4th or 5th<\/td>\r\n5:15<\/td>\r\nhttps:\/\/youtu.be\/Q02t7eDoy6I<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT38<\/td>\r\nPartwriting models for root position triads: Roots related by 3rd<\/td>\r\n3:09<\/td>\r\nhttps:\/\/youtu.be\/ShnI6CqUKh4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT39<\/td>\r\nPartwriting models for root position triads: Roots related by 2nd<\/td>\r\n5:54<\/td>\r\nhttps:\/\/youtu.be\/7TJcQJy3BgQ<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT40<\/td>\r\nPartwriting V7 to I<\/td>\r\n7:20<\/td>\r\nhttps:\/\/youtu.be\/AH_rHEdhCiI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT41<\/td>\r\nSequence<\/td>\r\n7:30<\/td>\r\nhttps:\/\/vimeo.com\/997856247?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT42<\/td>\r\nUses of the mediant<\/td>\r\n5:51<\/td>\r\nhttps:\/\/vimeo.com\/997850358?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT43<\/td>\r\nIntro to six-four chords<\/td>\r\n6:25<\/td>\r\nhttps:\/\/youtu.be\/79tXarJT7t8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT44<\/td>\r\nSix-four chords in context<\/td>\r\n7:00<\/td>\r\nhttps:\/\/youtu.be\/YlZxs40H3s0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT45<\/td>\r\nIntro to phrases and periods<\/td>\r\n8:44<\/td>\r\nhttps:\/\/youtu.be\/g6M8DqZF_Sc<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT46<\/td>\r\nHarmonizing 'Red River Valley'<\/td>\r\n12:30<\/td>\r\nhttps:\/\/youtu.be\/m5IkdgZWncs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT47<\/td>\r\nPrimer to text setting<\/td>\r\n5:54<\/td>\r\nhttps:\/\/youtu.be\/L8QOo4RLLhY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT48<\/td>\r\nHarmony in pop and rock, part 1: Functionally tonal progressions<\/td>\r\n10:03<\/td>\r\nhttps:\/\/vimeo.com\/997841872?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT49<\/td>\r\nHarmony in pop and rock, part 2: Functionally modal and absent tonic progressions<\/td>\r\n5:45<\/td>\r\nhttps:\/\/vimeo.com\/998236532?share=copy<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT50<\/td>\r\nHarmony in pop and rock, part 3: Riff-based, shuttle, and power chords<\/td>\r\n8:34<\/td>\r\nhttps:\/\/youtu.be\/aGCEkcQT7h8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT51<\/td>\r\nIntro to non-chord tones (PT, NT, SUS)<\/td>\r\n10:03<\/td>\r\nhttps:\/\/youtu.be\/3hCvbAj4EH4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT52<\/td>\r\nNon-chord tones, part 2 (RET, ANT, APP, ET, DN, PED)<\/td>\r\n8:34<\/td>\r\nhttps:\/\/youtu.be\/vncpMOO2Z9g<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT53<\/td>\r\nIntro to secondary dominants<\/td>\r\n7:55<\/td>\r\nhttps:\/\/youtu.be\/VM6wNb89NTo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT54<\/td>\r\nSecondary dominants in Beethoven's Symphony no. 1, mvt. 1<\/td>\r\n10:41<\/td>\r\nhttps:\/\/youtu.be\/9iGCYYvXRH4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT55<\/td>\r\nSpelling secondary dominants<\/td>\r\n11:21<\/td>\r\nhttps:\/\/youtu.be\/TJGUNutYMzU<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT56<\/td>\r\nHearing secondary dominants in major keys<\/td>\r\n11:03<\/td>\r\nhttps:\/\/youtu.be\/DJ0VthH6PKE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT57<\/td>\r\nHearing secondary dominants in minor keys<\/td>\r\n11:41<\/td>\r\nhttps:\/\/youtu.be\/eVhemP2Uhlc<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT58<\/td>\r\nPart writing with secondary dominants<\/td>\r\n10:54<\/td>\r\nhttps:\/\/youtu.be\/c1Ivvaf_MZw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT59<\/td>\r\nSecondary diminished chords<\/td>\r\n12:03<\/td>\r\nhttps:\/\/youtu.be\/PGtdU2DWtCA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT60<\/td>\r\nModulation to closely related key areas<\/td>\r\n10:25<\/td>\r\nhttps:\/\/youtu.be\/5-QGxIaf7Qs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT61<\/td>\r\nIntro to binary form<\/td>\r\n8:39<\/td>\r\nhttps:\/\/youtu.be\/UV7kXovnmOw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT62<\/td>\r\nBinary form example: Analysis of Dussek, op. 2, Andante<\/td>\r\n8:00<\/td>\r\nhttps:\/\/youtu.be\/EJ6Y5QkIRpo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT63<\/td>\r\nBinary form example: Analysis of Mozart, K. 265, Theme<\/td>\r\n3:53<\/td>\r\nhttps:\/\/youtu.be\/2zJJr7xieoI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT64<\/td>\r\nBinary form example: Analysis of Valerie Capers, \"Billie's Song\"<\/td>\r\n5:07<\/td>\r\nhttps:\/\/youtu.be\/g5HC_-DDCto<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT65<\/td>\r\nSimple ternary form<\/td>\r\n7:50<\/td>\r\nhttps:\/\/youtu.be\/KH7TV4NQ5H4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT66<\/td>\r\nCompound ternary form<\/td>\r\n11:16<\/td>\r\nhttps:\/\/youtu.be\/vQWheoBBtXw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT67<\/td>\r\nForm in pop, part 1: Overview and 12-Bar Blues<\/td>\r\n3:02<\/td>\r\nhttps:\/\/youtu.be\/gFJ5kCO-7wA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT68<\/td>\r\nForm in pop, part 2: Verse-chorus forms<\/td>\r\n12:57<\/td>\r\nhttps:\/\/youtu.be\/fzsjC6xiwp0<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT69<\/td>\r\nForm in pop, part 3: Terminally climactic forms<\/td>\r\n7:39<\/td>\r\nhttps:\/\/youtu.be\/nJwJRuQt9uY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT70<\/td>\r\nChromatic mediants: THEORY<\/td>\r\n7:42<\/td>\r\nhttps:\/\/youtu.be\/E_Ovm50GAn4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT71<\/td>\r\nChromatic mediants: EXAMPLES<\/td>\r\n11:30<\/td>\r\nhttps:\/\/youtu.be\/Te5S3qXGMLQ<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT72<\/td>\r\nModulation by common tone<\/td>\r\n8:41<\/td>\r\nhttps:\/\/youtu.be\/lrwOIFeUphc<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT73<\/td>\r\nMode mixture and borrowed chords<\/td>\r\n12:51<\/td>\r\nhttps:\/\/youtu.be\/H1bUhqpjDwY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT74<\/td>\r\nN6 video 1: THE BASICS<\/td>\r\n5:24<\/td>\r\nhttps:\/\/youtu.be\/p7Cqqja5g4Q<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT75<\/td>\r\nN6 video 2: ANALYSIS<\/td>\r\n3:45<\/td>\r\nhttps:\/\/youtu.be\/IufafDZfYFE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT76<\/td>\r\nN6 video 3: VOICE LEADING<\/td>\r\n3:44<\/td>\r\nhttps:\/\/youtu.be\/hHV7Ok-d3tA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT77<\/td>\r\n+6 video 1: THE BASICS<\/td>\r\n4:54<\/td>\r\nhttps:\/\/youtu.be\/4-IKIauLH0c<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT78<\/td>\r\n+6 video 2: THE THREE TYPES<\/td>\r\n4:04<\/td>\r\nhttps:\/\/youtu.be\/W2TWT_DqP7M<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT79<\/td>\r\n+6 video 3: ANALYSIS<\/td>\r\n3:41<\/td>\r\nhttps:\/\/youtu.be\/pdVFqqF5Zvo<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT80<\/td>\r\n+6 video 4: VOICE LEADING<\/td>\r\n4:41<\/td>\r\nhttps:\/\/youtu.be\/1RWQZAi1cVY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT81<\/td>\r\nDescending tetrachord video 1: INTRO<\/td>\r\n6:31<\/td>\r\nhttps:\/\/youtu.be\/AMyMqtsXrwI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT82<\/td>\r\nDescending Tetrachord video 2: HARMONIZATION<\/td>\r\n2:36<\/td>\r\nhttps:\/\/youtu.be\/niDjYFaon_U<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT83<\/td>\r\nEnharmonic reinterpretation video 1: INTRO<\/td>\r\n6:44<\/td>\r\nhttps:\/\/youtu.be\/4QHlv5t--sI<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT84<\/td>\r\nEnharmonic reinterpretation video 2: ANALYSIS<\/td>\r\n5:38<\/td>\r\nhttps:\/\/youtu.be\/XxUuPudPEYA<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT85<\/td>\r\nEnharmonic reinterpretation video 3: SPELLING<\/td>\r\n4:18<\/td>\r\nhttps:\/\/youtu.be\/2qf4aad6sN8<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT86<\/td>\r\nEnharmonic reinterpretation video 4: viio7 CHORDS<\/td>\r\n12:01<\/td>\r\nhttps:\/\/youtu.be\/WpK6nNyx_Pw<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT87<\/td>\r\nEnharmonic reinterpretation video 5: ANALYSIS with viio7<\/td>\r\n3:15<\/td>\r\nhttps:\/\/youtu.be\/7sgxXEMivgU<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT88<\/td>\r\n\"Flatting process\" video 1: INTRO<\/td>\r\n6:05<\/td>\r\nhttps:\/\/youtu.be\/I1-6XuoL1-k<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT89<\/td>\r\n\"Flatting process\" video 2: ANALYSIS<\/td>\r\n2:16<\/td>\r\nhttps:\/\/youtu.be\/FpBwZbhqk-c<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT90<\/td>\r\nExtended tertian chords video 1: INTRO<\/td>\r\n3:52<\/td>\r\nhttps:\/\/youtu.be\/5GTQI_yEhCE<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT91<\/td>\r\nExtended tertian chords video 2: V9<\/td>\r\n3:33<\/td>\r\nhttps:\/\/youtu.be\/P1uPRpixHxY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT92<\/td>\r\nExtended tertian chords video 3: Vb9<\/td>\r\n2:37<\/td>\r\nhttps:\/\/youtu.be\/augJmGqUZbg<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT93<\/td>\r\nExtended tertian chords video 4: V13<\/td>\r\n3:29<\/td>\r\nhttps:\/\/youtu.be\/RCRzQ5-NKPg<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT94<\/td>\r\nExtended tertian chords video 5: Vb13<\/td>\r\n3:32<\/td>\r\nhttps:\/\/youtu.be\/18ygvz3MQSs<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT95<\/td>\r\nExtended tertian chords video 6: V11<\/td>\r\n4:22<\/td>\r\nhttps:\/\/youtu.be\/p9SeoG08Zck<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT96<\/td>\r\nExtended tertian chords video 7: ii9<\/td>\r\n7:11<\/td>\r\nhttps:\/\/youtu.be\/vRrb3rtFOG4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT97<\/td>\r\nAltered dominants video<\/td>\r\n2:35<\/td>\r\nhttps:\/\/youtu.be\/mLJ1RSMiOE4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT98<\/td>\r\nCTo7 video<\/td>\r\n8:32<\/td>\r\nhttps:\/\/youtu.be\/9grBti2dJnQ<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT99<\/td>\r\nFive things the o7 can do for you<\/td>\r\n4:59<\/td>\r\nhttps:\/\/youtu.be\/tA97PErHX_4<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT100<\/td>\r\nSonata form video 1: INTRO<\/td>\r\n8:23<\/td>\r\nhttps:\/\/youtu.be\/WN9ERnTVZRY<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nT101<\/td>\r\nSonata form video 2: ANALYSIS<\/td>\r\n16:45<\/td>\r\nhttps:\/\/youtu.be\/XxVS-kt5OtM<\/a><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","rendered":"\n\n\n\n\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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KEYBOARD<\/td>\nK01<\/td>\nHow to set up a key at the piano: Keyboard progression 1<\/td>\n6:06<\/td>\nhttps:\/\/youtu.be\/nqvsqEVMd5g<\/a><\/td>\n<\/tr>\n
HARMONIC DICTATION<\/td>\nH01<\/td>\nHow to do a harmonic dictation<\/span><\/td>\n6:31<\/td>\nhttps:\/\/youtu.be\/qZqyJ4v-fQI<\/a><\/td>\n<\/tr>\n
RHYTHM<\/td>\nR01<\/td>\nIntro to rhythm and meter<\/td>\n9:48<\/td>\nhttps:\/\/vimeo.com\/998227090?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nR02<\/td>\nIntro to conducting patterns<\/td>\n4:35<\/td>\nhttps:\/\/vimeo.com\/998222315?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nR03<\/td>\nRhythm reading<\/td>\n8:47<\/td>\nhttps:\/\/youtu.be\/ZdfaMois5z0<\/a><\/td>\n<\/tr>\n
<\/td>\nR04<\/td>\nIntro to compound meters<\/td>\n5:30<\/td>\nhttps:\/\/youtu.be\/ulg0tbscx2E<\/a><\/td>\n<\/tr>\n
<\/td>\nR05<\/td>\nCompound meters in context<\/td>\n6:09<\/td>\nhttps:\/\/youtu.be\/KiejRh3s-qM<\/a><\/td>\n<\/tr>\n
<\/td>\nR06<\/td>\nAural meter ID<\/td>\n9:21<\/td>\nhttps:\/\/youtu.be\/Mn-QYsF9ihk<\/a><\/td>\n<\/tr>\n
<\/td>\nR07<\/td>\nRhythm reading in compound meters<\/td>\n7:03<\/td>\nhttps:\/\/youtu.be\/rM5raYd5eIo<\/a><\/td>\n<\/tr>\n
<\/td>\nR08<\/td>\nIntro to composite meters<\/td>\n11:55<\/td>\nhttps:\/\/youtu.be\/yyaukn6h2oE<\/a><\/td>\n<\/tr>\n
<\/td>\nR09<\/td>\nHow to do rhythmic dictation<\/td>\n9:27<\/td>\nhttps:\/\/youtu.be\/nYN376f3TMI<\/a><\/td>\n<\/tr>\n
<\/td>\nR10<\/td>\nRhythmic dictation practice<\/td>\n3:52<\/td>\nhttps:\/\/youtu.be\/UwcR80UKCQ0<\/a><\/td>\n<\/tr>\n
<\/td>\nR11<\/td>\nRhythm reading in \"{}^3_4\", part 1<\/td>\n5:04<\/td>\nhttps:\/\/youtu.be\/tZY5QXz5ZX0<\/a><\/td>\n<\/tr>\n
<\/td>\nR12<\/td>\nRhythm reading in \"{}^3_4\", part 2<\/td>\n2:31<\/td>\nhttps:\/\/youtu.be\/FUNNVO-6z1I<\/a><\/td>\n<\/tr>\n
<\/td>\nR13<\/td>\nRhythm reading in \"{}^4_4\", part 1<\/td>\n4:28<\/td>\nhttps:\/\/youtu.be\/MWq-aaTQ1o0<\/a><\/td>\n<\/tr>\n
<\/td>\nR14<\/td>\nRhythm reading in \"{}^4_4\", part 2<\/td>\n5:15<\/td>\nhttps:\/\/youtu.be\/5CdGv-caevM<\/a><\/td>\n<\/tr>\n
SINGING<\/td>\nS01<\/td>\nSolfege and Kodaly hand signs<\/td>\n2:08<\/td>\nhttps:\/\/youtu.be\/fzt1vbACOKg<\/a><\/td>\n<\/tr>\n
<\/td>\nS02<\/td>\nPitch patterns in major keys<\/td>\n5:50<\/td>\nhttps:\/\/youtu.be\/Ia8IgnqvqQE<\/a><\/td>\n<\/tr>\n
<\/td>\nS03<\/td>\nWarm up in B\"\flat\" major<\/td>\n1:18<\/td>\nhttps:\/\/youtu.be\/7JCrIZqPbT4<\/a><\/td>\n<\/tr>\n
<\/td>\nS04<\/td>\nWarm up in D major<\/td>\n0:30<\/td>\nhttps:\/\/youtu.be\/HAb4Bb7qE6s<\/a><\/td>\n<\/tr>\n
<\/td>\nS05<\/td>\nWarm up in F major<\/td>\n0:31<\/td>\nhttps:\/\/youtu.be\/BJj2Tm73r3Q<\/a><\/td>\n<\/tr>\n
<\/td>\nS06<\/td>\nSol mi do la singing exercise<\/td>\n1:55<\/td>\nhttps:\/\/youtu.be\/KVd4cIuSGqA<\/a><\/td>\n<\/tr>\n
<\/td>\nS07<\/td>\nPitch patterns in minor keys<\/td>\n7:39<\/td>\nhttps:\/\/youtu.be\/wMMxDITUcQQ<\/a><\/td>\n<\/tr>\n
<\/td>\nS08<\/td>\nWarm up in B\"\flat\" minor<\/td>\n0:29<\/td>\nhttps:\/\/youtu.be\/BWsmzerTJTs<\/a><\/td>\n<\/tr>\n
<\/td>\nS09<\/td>\nWarm up in D minor<\/td>\n0:27<\/td>\nhttps:\/\/youtu.be\/7QO72SEX_FA<\/a><\/td>\n<\/tr>\n
<\/td>\nS10<\/td>\nWarm up in F minor<\/td>\n0:27<\/td>\nhttps:\/\/youtu.be\/Aw3yKVC-Et8<\/a><\/td>\n<\/tr>\n
<\/td>\nS11<\/td>\nPracticing four-note pitch patterns<\/td>\n3:58<\/td>\nhttps:\/\/youtu.be\/tGxLmqFN1xw<\/a><\/td>\n<\/tr>\n
<\/td>\nS12<\/td>\nIntro to sight singing melodies (nos. 1\u20133)<\/td>\n8:35<\/td>\nhttps:\/\/youtu.be\/nOiuo3tLDeo<\/a><\/td>\n<\/tr>\n
<\/td>\nS13<\/td>\nPractice singing: melody no. 4<\/td>\n1:56<\/td>\nhttps:\/\/youtu.be\/tDD9fjTr5NA<\/a><\/td>\n<\/tr>\n
<\/td>\nS14<\/td>\nPractice singing: melody no. 5<\/td>\n1:50<\/td>\nhttps:\/\/youtu.be\/sqD0CM8eNpM<\/a><\/td>\n<\/tr>\n
<\/td>\nS15<\/td>\nPractice singing: melody no. 6<\/td>\n2:24<\/td>\nhttps:\/\/youtu.be\/H6IqgTgX0No<\/a><\/td>\n<\/tr>\n
<\/td>\nS16<\/td>\nPractice singing: melody no. 7<\/td>\n1:57<\/td>\nhttps:\/\/youtu.be\/wuQYZdhLuTo<\/a><\/td>\n<\/tr>\n
<\/td>\nS17<\/td>\nPractice singing: melody no. 8<\/td>\n2:55<\/td>\nhttps:\/\/youtu.be\/Xwi06nrd6is<\/a><\/td>\n<\/tr>\n
<\/td>\nS18<\/td>\nPractice singing: melody no. 9<\/td>\n2:06<\/td>\nhttps:\/\/youtu.be\/eUo8vmnln8s<\/a><\/td>\n<\/tr>\n
<\/td>\nS19<\/td>\nPractice singing: melody no. 10<\/td>\n1:58<\/td>\nhttps:\/\/youtu.be\/WxnLrAZDXUk<\/a><\/td>\n<\/tr>\n
<\/td>\nS20<\/td>\nPractice singing: melody no. 11<\/td>\n2:32<\/td>\nhttps:\/\/youtu.be\/pE0sPlhlSjM<\/a><\/td>\n<\/tr>\n
<\/td>\nS21<\/td>\nPractice singing: melody no. 12<\/td>\n1:54<\/td>\nhttps:\/\/youtu.be\/CLzEIY-Ad9g<\/a><\/td>\n<\/tr>\n
<\/td>\nS22<\/td>\nPractice singing: melody no. 13<\/td>\n2:00<\/td>\nhttps:\/\/youtu.be\/CzhKxHj80tg<\/a><\/td>\n<\/tr>\n
<\/td>\nS23<\/td>\nPractice singing: melody no. 14<\/td>\n1:56<\/td>\nhttps:\/\/youtu.be\/n9NyI6MaX0M<\/a><\/td>\n<\/tr>\n
<\/td>\nS24<\/td>\nPractice singing: melody no. 15<\/td>\n1:59<\/td>\nhttps:\/\/youtu.be\/mYehZF5M57E<\/a><\/td>\n<\/tr>\n
<\/td>\nS25<\/td>\nPractice singing: melody no. 16<\/td>\n1:31<\/td>\nhttps:\/\/youtu.be\/9__abXMWbPk<\/a><\/td>\n<\/tr>\n
<\/td>\nS26<\/td>\nPractice singing: melody no. 17<\/td>\n1:37<\/td>\nhttps:\/\/youtu.be\/EbZk8O93yG8<\/a><\/td>\n<\/tr>\n
<\/td>\nS27<\/td>\nPractice singing: melody no. 18<\/td>\n1:56<\/td>\nhttps:\/\/youtu.be\/Efnsx295JpQ<\/a><\/td>\n<\/tr>\n
<\/td>\nS28<\/td>\nPractice singing: melody no. 19<\/td>\n1:57<\/td>\nhttps:\/\/youtu.be\/OWPHqEBaAyA<\/a><\/td>\n<\/tr>\n
<\/td>\nS29<\/td>\nPractice singing: melody no. 20<\/td>\n1:53<\/td>\nhttps:\/\/youtu.be\/GXEdiuLKnHM<\/a><\/td>\n<\/tr>\n
<\/td>\nS30<\/td>\nPractice singing: melody no. 21<\/td>\n2:15<\/td>\nhttps:\/\/youtu.be\/pk6kSY6GSnw<\/a><\/td>\n<\/tr>\n
<\/td>\nS31<\/td>\nPractice singing: melody no. 22<\/td>\n2:01<\/td>\nhttps:\/\/youtu.be\/q9udBg4MeTU<\/a><\/td>\n<\/tr>\n
<\/td>\nS32<\/td>\nChromatic solfege syllables<\/td>\n3:10<\/td>\nhttps:\/\/youtu.be\/vptOqgtYSlE<\/a><\/td>\n<\/tr>\n
<\/td>\nS33<\/td>\nCanon in A minor (melody no. 27)<\/td>\n4:09<\/td>\nhttps:\/\/youtu.be\/t2f-dysyc-I<\/a><\/td>\n<\/tr>\n
<\/td>\nS34<\/td>\nSight singing Haydn duet<\/td>\n6:49<\/td>\nhttps:\/\/youtu.be\/aCvFrUdM0mM<\/a><\/td>\n<\/tr>\n
<\/td>\nS35<\/td>\nSight singing modulating melody<\/td>\n5:47<\/td>\nhttps:\/\/youtu.be\/QiqyztHekUo<\/a><\/td>\n<\/tr>\n
<\/td>\nS36<\/td>\nSight singing melody no. 32<\/td>\n4:37<\/td>\nhttps:\/\/youtu.be\/eZWRptQ__NI<\/a><\/td>\n<\/tr>\n
<\/td>\nS37<\/td>\nPractice singing: melody no. 23<\/td>\n4:00<\/td>\nhttps:\/\/youtu.be\/ihN2xlzsEbU<\/a><\/td>\n<\/tr>\n
<\/td>\nS38<\/td>\nPractice singing: melody no. 24<\/td>\n3:49<\/td>\nhttps:\/\/youtu.be\/1XIs4gXOdaE<\/a><\/td>\n<\/tr>\n
<\/td>\nS39<\/td>\nPractice singing: melody no. 25<\/td>\n2:37<\/td>\nhttps:\/\/youtu.be\/ImgtU2z7aiI<\/a><\/td>\n<\/tr>\n
<\/td>\nS40<\/td>\nPractice singing: melody no. 26<\/td>\n4:11<\/td>\nhttps:\/\/youtu.be\/x1I8uKIc6wE<\/a><\/td>\n<\/tr>\n
<\/td>\nS41<\/td>\nPractice singing: melody no. 28<\/td>\n5:00<\/td>\nhttps:\/\/youtu.be\/DjX85OLdX5Y<\/a><\/td>\n<\/tr>\n
THEORY TOPICS<\/td>\nT01<\/td>\nPitch notation and clefs<\/td>\n11:00<\/td>\nhttps:\/\/youtu.be\/dYDYpjj5_GM<\/a><\/td>\n<\/tr>\n
<\/td>\nT02<\/td>\nHow to draw treble clef<\/td>\n1:37<\/td>\nhttps:\/\/youtu.be\/WsEa1ch_3BY<\/a><\/td>\n<\/tr>\n
<\/td>\nT03<\/td>\nKeyboard layout, 8ve designations, and modifying notes<\/td>\n7:53<\/td>\nhttps:\/\/youtu.be\/yADmNs4R2iA<\/a><\/td>\n<\/tr>\n
<\/td>\nT04<\/td>\nIntro to major scales<\/td>\n4:02<\/td>\nhttps:\/\/youtu.be\/e3JuzHavtsU<\/a><\/td>\n<\/tr>\n
<\/td>\nT05<\/td>\nMajor scales in context, part 1<\/td>\n5:54<\/td>\nhttps:\/\/youtu.be\/gKBF2k3-fJs<\/a><\/td>\n<\/tr>\n
<\/td>\nT06<\/td>\nMajor scales in context, part 2<\/td>\n13:29<\/td>\nhttps:\/\/youtu.be\/3kyckSwCMmM<\/a><\/td>\n<\/tr>\n
<\/td>\nT07<\/td>\nMajor key signatures<\/td>\n4:15<\/td>\nhttps:\/\/youtu.be\/RDTxUDIKvgo<\/a><\/td>\n<\/tr>\n
<\/td>\nT08<\/td>\nIntro to intervals<\/td>\n3:45<\/td>\nhttps:\/\/youtu.be\/SUXpKjv_nys<\/a><\/td>\n<\/tr>\n
<\/td>\nT09<\/td>\nMajor intervals<\/td>\n4:37<\/td>\nhttps:\/\/youtu.be\/sq5W3igpeOw<\/a><\/td>\n<\/tr>\n
<\/td>\nT10<\/td>\nMinor intervals<\/td>\n5:17<\/td>\nhttps:\/\/youtu.be\/979sLNfbr3E<\/a><\/td>\n<\/tr>\n
<\/td>\nT11<\/td>\nInterval inversion<\/td>\n6:40<\/td>\nhttps:\/\/youtu.be\/m3dXjkDKLlo<\/a><\/td>\n<\/tr>\n
<\/td>\nT12<\/td>\nPerfect intervals<\/td>\n9:05<\/td>\nhttps:\/\/youtu.be\/MG66S83pnkc<\/a><\/td>\n<\/tr>\n
<\/td>\nT13<\/td>\nAugmented and diminished intervals<\/td>\n8:58<\/td>\nhttps:\/\/youtu.be\/7bRLGvNaByE<\/a><\/td>\n<\/tr>\n
<\/td>\nT14<\/td>\nIntro to minor scales<\/td>\n8:14<\/td>\nhttps:\/\/youtu.be\/vnxUJGSzIJE<\/a><\/td>\n<\/tr>\n
<\/td>\nT15<\/td>\nMinor scales in context<\/td>\n10:09<\/td>\nhttps:\/\/vimeo.com\/1008187640?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT16<\/td>\nIntro to modes<\/td>\n6:51<\/td>\nhttps:\/\/youtu.be\/2AVQkex5aCY<\/a><\/td>\n<\/tr>\n
<\/td>\nT17<\/td>\nExploring the lydian mode<\/td>\n7:30<\/td>\nhttps:\/\/youtu.be\/kchA7LVpGfs<\/a><\/td>\n<\/tr>\n
<\/td>\nT18<\/td>\nExploring the mixolydian mode<\/td>\n6:16<\/td>\nhttps:\/\/youtu.be\/lkFV1jrBGsM<\/a><\/td>\n<\/tr>\n
<\/td>\nT19<\/td>\nExploring the phrygian mode<\/td>\n8:16<\/td>\nhttps:\/\/youtu.be\/U5JU5_WrQX4<\/a><\/td>\n<\/tr>\n
<\/td>\nT20<\/td>\nExploring the dorian mode<\/td>\n8:38<\/td>\nhttps:\/\/youtu.be\/dP-vLgqY23c<\/a><\/td>\n<\/tr>\n
<\/td>\nT21<\/td>\nSinging demo of the modes in action<\/td>\n5:00<\/td>\nhttps:\/\/youtu.be\/cE5amD456Qw<\/a><\/td>\n<\/tr>\n
<\/td>\nT22<\/td>\nWhole tone scales<\/td>\n8:55<\/td>\nhttps:\/\/youtu.be\/mEtEWVHnJ7I<\/a><\/td>\n<\/tr>\n
<\/td>\nT23<\/td>\nPentatonic scales<\/td>\n9:23<\/td>\nhttps:\/\/youtu.be\/s21YRuznNa8<\/a><\/td>\n<\/tr>\n
<\/td>\nT24<\/td>\nIntro to triads<\/td>\n6:28<\/td>\nhttps:\/\/youtu.be\/iQLqbpAlbDg<\/a><\/td>\n<\/tr>\n
<\/td>\nT25<\/td>\nIntro to seventh chords<\/td>\n4:55<\/td>\nhttps:\/\/youtu.be\/PU3icmB85tE<\/a><\/td>\n<\/tr>\n
<\/td>\nT26<\/td>\nSeventh chords in context<\/td>\n10:28<\/td>\nhttps:\/\/vimeo.com\/1010389967?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT27<\/td>\nLead sheet symbols in ‘Shenandoah’<\/td>\n7:04<\/td>\nhttps:\/\/youtu.be\/b80FQ3ZOrEw<\/a><\/td>\n<\/tr>\n
<\/td>\nT28<\/td>\nIntro to figured bass, part 1<\/td>\n7:54<\/td>\nhttps:\/\/youtu.be\/fDymJxVPmU8<\/a><\/td>\n<\/tr>\n
<\/td>\nT29<\/td>\nIntro to figured bass, part 2<\/td>\n5:08<\/td>\nhttps:\/\/youtu.be\/CiFZt6NhpS0<\/a><\/td>\n<\/tr>\n
<\/td>\nT30<\/td>\nFigured bass modification symbols<\/td>\n2:39<\/td>\nhttps:\/\/youtu.be\/-Jgu1nAtR34<\/a><\/td>\n<\/tr>\n
<\/td>\nT31<\/td>\nIntro to texture<\/td>\n14:41<\/td>\nhttps:\/\/youtu.be\/xW4sF4thGF8<\/a><\/td>\n<\/tr>\n
<\/td>\nT32<\/td>\nRoman numerals in major and minor keys<\/td>\n6:58<\/td>\nhttps:\/\/youtu.be\/siBP7XzpPg8<\/a><\/td>\n<\/tr>\n
<\/td>\nT33<\/td>\nHarmonic function<\/td>\n8:56<\/td>\nhttps:\/\/youtu.be\/JXzkDV7rc0c<\/a><\/td>\n<\/tr>\n
<\/td>\nT34<\/td>\nCadences in context<\/td>\n15:12<\/td>\nhttps:\/\/vimeo.com\/1008110636<\/a><\/td>\n<\/tr>\n
<\/td>\nT35<\/td>\nChord motion and voicing<\/td>\n9:31<\/td>\nhttps:\/\/youtu.be\/HfLobE6oeE8<\/a><\/td>\n<\/tr>\n
<\/td>\nT36<\/td>\nIntro to voice leading<\/td>\n16:57<\/td>\nhttps:\/\/youtu.be\/RXU2HTy4B5E<\/a><\/td>\n<\/tr>\n
<\/td>\nT37<\/td>\nPartwriting models for root position triads: Roots related by 4th or 5th<\/td>\n5:15<\/td>\nhttps:\/\/youtu.be\/Q02t7eDoy6I<\/a><\/td>\n<\/tr>\n
<\/td>\nT38<\/td>\nPartwriting models for root position triads: Roots related by 3rd<\/td>\n3:09<\/td>\nhttps:\/\/youtu.be\/ShnI6CqUKh4<\/a><\/td>\n<\/tr>\n
<\/td>\nT39<\/td>\nPartwriting models for root position triads: Roots related by 2nd<\/td>\n5:54<\/td>\nhttps:\/\/youtu.be\/7TJcQJy3BgQ<\/a><\/td>\n<\/tr>\n
<\/td>\nT40<\/td>\nPartwriting V7 to I<\/td>\n7:20<\/td>\nhttps:\/\/youtu.be\/AH_rHEdhCiI<\/a><\/td>\n<\/tr>\n
<\/td>\nT41<\/td>\nSequence<\/td>\n7:30<\/td>\nhttps:\/\/vimeo.com\/997856247?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT42<\/td>\nUses of the mediant<\/td>\n5:51<\/td>\nhttps:\/\/vimeo.com\/997850358?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT43<\/td>\nIntro to six-four chords<\/td>\n6:25<\/td>\nhttps:\/\/youtu.be\/79tXarJT7t8<\/a><\/td>\n<\/tr>\n
<\/td>\nT44<\/td>\nSix-four chords in context<\/td>\n7:00<\/td>\nhttps:\/\/youtu.be\/YlZxs40H3s0<\/a><\/td>\n<\/tr>\n
<\/td>\nT45<\/td>\nIntro to phrases and periods<\/td>\n8:44<\/td>\nhttps:\/\/youtu.be\/g6M8DqZF_Sc<\/a><\/td>\n<\/tr>\n
<\/td>\nT46<\/td>\nHarmonizing ‘Red River Valley’<\/td>\n12:30<\/td>\nhttps:\/\/youtu.be\/m5IkdgZWncs<\/a><\/td>\n<\/tr>\n
<\/td>\nT47<\/td>\nPrimer to text setting<\/td>\n5:54<\/td>\nhttps:\/\/youtu.be\/L8QOo4RLLhY<\/a><\/td>\n<\/tr>\n
<\/td>\nT48<\/td>\nHarmony in pop and rock, part 1: Functionally tonal progressions<\/td>\n10:03<\/td>\nhttps:\/\/vimeo.com\/997841872?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT49<\/td>\nHarmony in pop and rock, part 2: Functionally modal and absent tonic progressions<\/td>\n5:45<\/td>\nhttps:\/\/vimeo.com\/998236532?share=copy<\/a><\/td>\n<\/tr>\n
<\/td>\nT50<\/td>\nHarmony in pop and rock, part 3: Riff-based, shuttle, and power chords<\/td>\n8:34<\/td>\nhttps:\/\/youtu.be\/aGCEkcQT7h8<\/a><\/td>\n<\/tr>\n
<\/td>\nT51<\/td>\nIntro to non-chord tones (PT, NT, SUS)<\/td>\n10:03<\/td>\nhttps:\/\/youtu.be\/3hCvbAj4EH4<\/a><\/td>\n<\/tr>\n
<\/td>\nT52<\/td>\nNon-chord tones, part 2 (RET, ANT, APP, ET, DN, PED)<\/td>\n8:34<\/td>\nhttps:\/\/youtu.be\/vncpMOO2Z9g<\/a><\/td>\n<\/tr>\n
<\/td>\nT53<\/td>\nIntro to secondary dominants<\/td>\n7:55<\/td>\nhttps:\/\/youtu.be\/VM6wNb89NTo<\/a><\/td>\n<\/tr>\n
<\/td>\nT54<\/td>\nSecondary dominants in Beethoven’s Symphony no. 1, mvt. 1<\/td>\n10:41<\/td>\nhttps:\/\/youtu.be\/9iGCYYvXRH4<\/a><\/td>\n<\/tr>\n
<\/td>\nT55<\/td>\nSpelling secondary dominants<\/td>\n11:21<\/td>\nhttps:\/\/youtu.be\/TJGUNutYMzU<\/a><\/td>\n<\/tr>\n
<\/td>\nT56<\/td>\nHearing secondary dominants in major keys<\/td>\n11:03<\/td>\nhttps:\/\/youtu.be\/DJ0VthH6PKE<\/a><\/td>\n<\/tr>\n
<\/td>\nT57<\/td>\nHearing secondary dominants in minor keys<\/td>\n11:41<\/td>\nhttps:\/\/youtu.be\/eVhemP2Uhlc<\/a><\/td>\n<\/tr>\n
<\/td>\nT58<\/td>\nPart writing with secondary dominants<\/td>\n10:54<\/td>\nhttps:\/\/youtu.be\/c1Ivvaf_MZw<\/a><\/td>\n<\/tr>\n
<\/td>\nT59<\/td>\nSecondary diminished chords<\/td>\n12:03<\/td>\nhttps:\/\/youtu.be\/PGtdU2DWtCA<\/a><\/td>\n<\/tr>\n
<\/td>\nT60<\/td>\nModulation to closely related key areas<\/td>\n10:25<\/td>\nhttps:\/\/youtu.be\/5-QGxIaf7Qs<\/a><\/td>\n<\/tr>\n
<\/td>\nT61<\/td>\nIntro to binary form<\/td>\n8:39<\/td>\nhttps:\/\/youtu.be\/UV7kXovnmOw<\/a><\/td>\n<\/tr>\n
<\/td>\nT62<\/td>\nBinary form example: Analysis of Dussek, op. 2, Andante<\/td>\n8:00<\/td>\nhttps:\/\/youtu.be\/EJ6Y5QkIRpo<\/a><\/td>\n<\/tr>\n
<\/td>\nT63<\/td>\nBinary form example: Analysis of Mozart, K. 265, Theme<\/td>\n3:53<\/td>\nhttps:\/\/youtu.be\/2zJJr7xieoI<\/a><\/td>\n<\/tr>\n
<\/td>\nT64<\/td>\nBinary form example: Analysis of Valerie Capers, “Billie’s Song”<\/td>\n5:07<\/td>\nhttps:\/\/youtu.be\/g5HC_-DDCto<\/a><\/td>\n<\/tr>\n
<\/td>\nT65<\/td>\nSimple ternary form<\/td>\n7:50<\/td>\nhttps:\/\/youtu.be\/KH7TV4NQ5H4<\/a><\/td>\n<\/tr>\n
<\/td>\nT66<\/td>\nCompound ternary form<\/td>\n11:16<\/td>\nhttps:\/\/youtu.be\/vQWheoBBtXw<\/a><\/td>\n<\/tr>\n
<\/td>\nT67<\/td>\nForm in pop, part 1: Overview and 12-Bar Blues<\/td>\n3:02<\/td>\nhttps:\/\/youtu.be\/gFJ5kCO-7wA<\/a><\/td>\n<\/tr>\n
<\/td>\nT68<\/td>\nForm in pop, part 2: Verse-chorus forms<\/td>\n12:57<\/td>\nhttps:\/\/youtu.be\/fzsjC6xiwp0<\/a><\/td>\n<\/tr>\n
<\/td>\nT69<\/td>\nForm in pop, part 3: Terminally climactic forms<\/td>\n7:39<\/td>\nhttps:\/\/youtu.be\/nJwJRuQt9uY<\/a><\/td>\n<\/tr>\n
<\/td>\nT70<\/td>\nChromatic mediants: THEORY<\/td>\n7:42<\/td>\nhttps:\/\/youtu.be\/E_Ovm50GAn4<\/a><\/td>\n<\/tr>\n
<\/td>\nT71<\/td>\nChromatic mediants: EXAMPLES<\/td>\n11:30<\/td>\nhttps:\/\/youtu.be\/Te5S3qXGMLQ<\/a><\/td>\n<\/tr>\n
<\/td>\nT72<\/td>\nModulation by common tone<\/td>\n8:41<\/td>\nhttps:\/\/youtu.be\/lrwOIFeUphc<\/a><\/td>\n<\/tr>\n
<\/td>\nT73<\/td>\nMode mixture and borrowed chords<\/td>\n12:51<\/td>\nhttps:\/\/youtu.be\/H1bUhqpjDwY<\/a><\/td>\n<\/tr>\n
<\/td>\nT74<\/td>\nN6 video 1: THE BASICS<\/td>\n5:24<\/td>\nhttps:\/\/youtu.be\/p7Cqqja5g4Q<\/a><\/td>\n<\/tr>\n
<\/td>\nT75<\/td>\nN6 video 2: ANALYSIS<\/td>\n3:45<\/td>\nhttps:\/\/youtu.be\/IufafDZfYFE<\/a><\/td>\n<\/tr>\n
<\/td>\nT76<\/td>\nN6 video 3: VOICE LEADING<\/td>\n3:44<\/td>\nhttps:\/\/youtu.be\/hHV7Ok-d3tA<\/a><\/td>\n<\/tr>\n
<\/td>\nT77<\/td>\n+6 video 1: THE BASICS<\/td>\n4:54<\/td>\nhttps:\/\/youtu.be\/4-IKIauLH0c<\/a><\/td>\n<\/tr>\n
<\/td>\nT78<\/td>\n+6 video 2: THE THREE TYPES<\/td>\n4:04<\/td>\nhttps:\/\/youtu.be\/W2TWT_DqP7M<\/a><\/td>\n<\/tr>\n
<\/td>\nT79<\/td>\n+6 video 3: ANALYSIS<\/td>\n3:41<\/td>\nhttps:\/\/youtu.be\/pdVFqqF5Zvo<\/a><\/td>\n<\/tr>\n
<\/td>\nT80<\/td>\n+6 video 4: VOICE LEADING<\/td>\n4:41<\/td>\nhttps:\/\/youtu.be\/1RWQZAi1cVY<\/a><\/td>\n<\/tr>\n
<\/td>\nT81<\/td>\nDescending tetrachord video 1: INTRO<\/td>\n6:31<\/td>\nhttps:\/\/youtu.be\/AMyMqtsXrwI<\/a><\/td>\n<\/tr>\n
<\/td>\nT82<\/td>\nDescending Tetrachord video 2: HARMONIZATION<\/td>\n2:36<\/td>\nhttps:\/\/youtu.be\/niDjYFaon_U<\/a><\/td>\n<\/tr>\n
<\/td>\nT83<\/td>\nEnharmonic reinterpretation video 1: INTRO<\/td>\n6:44<\/td>\nhttps:\/\/youtu.be\/4QHlv5t–sI<\/a><\/td>\n<\/tr>\n
<\/td>\nT84<\/td>\nEnharmonic reinterpretation video 2: ANALYSIS<\/td>\n5:38<\/td>\nhttps:\/\/youtu.be\/XxUuPudPEYA<\/a><\/td>\n<\/tr>\n
<\/td>\nT85<\/td>\nEnharmonic reinterpretation video 3: SPELLING<\/td>\n4:18<\/td>\nhttps:\/\/youtu.be\/2qf4aad6sN8<\/a><\/td>\n<\/tr>\n
<\/td>\nT86<\/td>\nEnharmonic reinterpretation video 4: viio7 CHORDS<\/td>\n12:01<\/td>\nhttps:\/\/youtu.be\/WpK6nNyx_Pw<\/a><\/td>\n<\/tr>\n
<\/td>\nT87<\/td>\nEnharmonic reinterpretation video 5: ANALYSIS with viio7<\/td>\n3:15<\/td>\nhttps:\/\/youtu.be\/7sgxXEMivgU<\/a><\/td>\n<\/tr>\n
<\/td>\nT88<\/td>\n“Flatting process” video 1: INTRO<\/td>\n6:05<\/td>\nhttps:\/\/youtu.be\/I1-6XuoL1-k<\/a><\/td>\n<\/tr>\n
<\/td>\nT89<\/td>\n“Flatting process” video 2: ANALYSIS<\/td>\n2:16<\/td>\nhttps:\/\/youtu.be\/FpBwZbhqk-c<\/a><\/td>\n<\/tr>\n
<\/td>\nT90<\/td>\nExtended tertian chords video 1: INTRO<\/td>\n3:52<\/td>\nhttps:\/\/youtu.be\/5GTQI_yEhCE<\/a><\/td>\n<\/tr>\n
<\/td>\nT91<\/td>\nExtended tertian chords video 2: V9<\/td>\n3:33<\/td>\nhttps:\/\/youtu.be\/P1uPRpixHxY<\/a><\/td>\n<\/tr>\n
<\/td>\nT92<\/td>\nExtended tertian chords video 3: Vb9<\/td>\n2:37<\/td>\nhttps:\/\/youtu.be\/augJmGqUZbg<\/a><\/td>\n<\/tr>\n
<\/td>\nT93<\/td>\nExtended tertian chords video 4: V13<\/td>\n3:29<\/td>\nhttps:\/\/youtu.be\/RCRzQ5-NKPg<\/a><\/td>\n<\/tr>\n
<\/td>\nT94<\/td>\nExtended tertian chords video 5: Vb13<\/td>\n3:32<\/td>\nhttps:\/\/youtu.be\/18ygvz3MQSs<\/a><\/td>\n<\/tr>\n
<\/td>\nT95<\/td>\nExtended tertian chords video 6: V11<\/td>\n4:22<\/td>\nhttps:\/\/youtu.be\/p9SeoG08Zck<\/a><\/td>\n<\/tr>\n
<\/td>\nT96<\/td>\nExtended tertian chords video 7: ii9<\/td>\n7:11<\/td>\nhttps:\/\/youtu.be\/vRrb3rtFOG4<\/a><\/td>\n<\/tr>\n
<\/td>\nT97<\/td>\nAltered dominants video<\/td>\n2:35<\/td>\nhttps:\/\/youtu.be\/mLJ1RSMiOE4<\/a><\/td>\n<\/tr>\n
<\/td>\nT98<\/td>\nCTo7 video<\/td>\n8:32<\/td>\nhttps:\/\/youtu.be\/9grBti2dJnQ<\/a><\/td>\n<\/tr>\n
<\/td>\nT99<\/td>\nFive things the o7 can do for you<\/td>\n4:59<\/td>\nhttps:\/\/youtu.be\/tA97PErHX_4<\/a><\/td>\n<\/tr>\n
<\/td>\nT100<\/td>\nSonata form video 1: INTRO<\/td>\n8:23<\/td>\nhttps:\/\/youtu.be\/WN9ERnTVZRY<\/a><\/td>\n<\/tr>\n
<\/td>\nT101<\/td>\nSonata form video 2: ANALYSIS<\/td>\n16:45<\/td>\nhttps:\/\/youtu.be\/XxVS-kt5OtM<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"author":3,"menu_order":7,"template":"","meta":{"pb_show_title":"on","pb_short_title":"Index of videos","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"back-matter-type":[39],"contributor":[],"license":[],"class_list":["post-895","back-matter","type-back-matter","status-publish","hentry","back-matter-type-index"],"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/895","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/back-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":44,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/895\/revisions"}],"predecessor-version":[{"id":6888,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/895\/revisions\/6888"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/895\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=895"}],"wp:term":[{"taxonomy":"back-matter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter-type?post=895"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=895"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}