{"id":999,"date":"2023-06-02T16:00:14","date_gmt":"2023-06-02T16:00:14","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=999"},"modified":"2025-06-18T20:47:59","modified_gmt":"2025-06-18T20:47:59","slug":"index-of-slideshows","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/index-of-slideshows\/","title":{"raw":"Index of slideshows","rendered":"Index of slideshows"},"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
Chapter<\/strong><\/td>\r\nTitle<\/strong><\/td>\r\nURL<\/strong><\/td>\r\n<\/tr>\r\n
1<\/td>\r\nPitch notation<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1wupV1pDl6FOakE4sRdy_mwECUaBjtsfg_z6yIZd9vT0\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
2<\/td>\r\nSimple meters<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1MxHyyBJkIa7OgKwbLxm1q_07cX9FQHSmtGK_Fx0suF8\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
3<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
4<\/td>\r\nWhy key signatures?<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1e0MdgaMqPjj0aWBkLP-X-mRO98Jzk1oCjQXC2U8nixc\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
5<\/td>\r\nIntro to intervals<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1M1PmwxeD1m0nY07H-8GrTOW4X4RpYp21hJ3RCPJrv7E\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
6<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
7<\/td>\r\nCompound meters<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1R6dd8GvGwtOtttlU-pQOrspWWbb2OV2Nu4g1NGaWDFE\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
8<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
9<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
10<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
11<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
12<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
13<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
14<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
15<\/td>\r\nNashville numbers<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1Y1pDlVeDAb_mi4j_LeVZXjIdrjD4e7WP0khWKrWweYk\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
16<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
17<\/td>\r\nMelody<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1HqzxbpQJ8IldZOlfQWjbEuaonjGnFH_yVed625mzbu4\/edit#slide=id.p<\/a><\/td>\r\n<\/tr>\r\n
18<\/td>\r\nSequence and uses of the mediant<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
19<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
20<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
21<\/td>\r\nIntro to two-part counterpoint<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1xa8o4x7v8JXHp43c4sa73GsvZViXD9o9qVI7FXolNI4\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
22<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
23<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
24<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
25<\/td>\r\nIntro to SATB part writing<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1eop2VL3fw-Rlmfk-uirXwtj4GJvURQ62jEx6aLeTnGE\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
26<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
27<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
28<\/td>\r\nInstrument transpositions and ranges<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1IuPCeQsg6fkBj6En3NMV-_4ulKcuWN3DkZQaHNZmLmI\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
29<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
30<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
31<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
32<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
33<\/td>\r\nModulation to closely related keys<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1SGydzJopcOsX9mIe0xllQ34GHASRFVoX3_jbhYua-Fc\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
34<\/td>\r\nBinary form<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
35<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
36<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
37<\/td>\r\nForm in pop and rock<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1gntt0Z-iaTXbrrwLNGqICTnYdSux3Qk8XIVd2lokYrk\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
38<\/td>\r\nChromatic mediants<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
39<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
40<\/td>\r\nMode mixture<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/13PbCR1DMP9kPJxMBpiIXI1AZErphKV9Ho6ytDErV8Sw\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
41<\/td>\r\nN6 slides<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/17Y62PjdtD0R-xYGoH6jD-mQt-6OsmqzRRpkuHjsgwM4\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
42<\/td>\r\nAugmented sixth chords<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
43<\/td>\r\nDescending tetrachord<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1_pwGyBepzfq7vvVIOYUbz3p3VS2hemBYlv0ejJ69Fuk\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
44<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
45<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
46<\/td>\r\nn\/a<\/td>\r\n<\/td>\r\n<\/tr>\r\n
47<\/td>\r\nExtended tertian chords<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1RT503MHghxNg_J6NQ0jEtP9dIFCpN0INGZw7_Ewdz58\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
48<\/td>\r\nCTo7<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1_InKJkT--ESFwRpXSkLIpzpio2HEExB_tU6qVmC5vog\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
49<\/td>\r\nSonata form (intro)<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1c5jfqkkoFG9quUV-aNglRuny7wliP8hHV0rimuLyGWM\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n
<\/td>\r\nClementi Sonatina<\/td>\r\nhttps:\/\/docs.google.com\/presentation\/d\/1RObHK4sssSJg3gs861nedQgt40UcmgyHA584OAevpQU\/edit?usp=sharing<\/a><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","rendered":"\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
Chapter<\/strong><\/td>\nTitle<\/strong><\/td>\nURL<\/strong><\/td>\n<\/tr>\n
1<\/td>\nPitch notation<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1wupV1pDl6FOakE4sRdy_mwECUaBjtsfg_z6yIZd9vT0\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
2<\/td>\nSimple meters<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1MxHyyBJkIa7OgKwbLxm1q_07cX9FQHSmtGK_Fx0suF8\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
3<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nWhy key signatures?<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1e0MdgaMqPjj0aWBkLP-X-mRO98Jzk1oCjQXC2U8nixc\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
5<\/td>\nIntro to intervals<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1M1PmwxeD1m0nY07H-8GrTOW4X4RpYp21hJ3RCPJrv7E\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
6<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nCompound meters<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1R6dd8GvGwtOtttlU-pQOrspWWbb2OV2Nu4g1NGaWDFE\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
8<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
13<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
14<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
15<\/td>\nNashville numbers<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1Y1pDlVeDAb_mi4j_LeVZXjIdrjD4e7WP0khWKrWweYk\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
16<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
17<\/td>\nMelody<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1HqzxbpQJ8IldZOlfQWjbEuaonjGnFH_yVed625mzbu4\/edit#slide=id.p<\/a><\/td>\n<\/tr>\n
18<\/td>\nSequence and uses of the mediant<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1IkF3OpPja7jWLOpBpz62OhOf9UntZdPlHYXotf5NgvA\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
19<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
20<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
21<\/td>\nIntro to two-part counterpoint<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1xa8o4x7v8JXHp43c4sa73GsvZViXD9o9qVI7FXolNI4\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
22<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
23<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
24<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
25<\/td>\nIntro to SATB part writing<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1eop2VL3fw-Rlmfk-uirXwtj4GJvURQ62jEx6aLeTnGE\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
26<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
27<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
28<\/td>\nInstrument transpositions and ranges<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1IuPCeQsg6fkBj6En3NMV-_4ulKcuWN3DkZQaHNZmLmI\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
29<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
30<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
31<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
32<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
33<\/td>\nModulation to closely related keys<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1SGydzJopcOsX9mIe0xllQ34GHASRFVoX3_jbhYua-Fc\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
34<\/td>\nBinary form<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1k5Yu2wO9U9ZloA1B_TaiyDjvLeiP4qQbEDmxZIcY9Ew\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
35<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
36<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
37<\/td>\nForm in pop and rock<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1gntt0Z-iaTXbrrwLNGqICTnYdSux3Qk8XIVd2lokYrk\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
38<\/td>\nChromatic mediants<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
39<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
40<\/td>\nMode mixture<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/13PbCR1DMP9kPJxMBpiIXI1AZErphKV9Ho6ytDErV8Sw\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
41<\/td>\nN6 slides<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/17Y62PjdtD0R-xYGoH6jD-mQt-6OsmqzRRpkuHjsgwM4\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
42<\/td>\nAugmented sixth chords<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1NKhPXwIjUe4S0nDPS3esv13ZYFbkA9DYP5cySBSj2I4\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
43<\/td>\nDescending tetrachord<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1_pwGyBepzfq7vvVIOYUbz3p3VS2hemBYlv0ejJ69Fuk\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
44<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
45<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
46<\/td>\nn\/a<\/td>\n<\/td>\n<\/tr>\n
47<\/td>\nExtended tertian chords<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1RT503MHghxNg_J6NQ0jEtP9dIFCpN0INGZw7_Ewdz58\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
48<\/td>\nCTo7<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1_InKJkT–ESFwRpXSkLIpzpio2HEExB_tU6qVmC5vog\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
49<\/td>\nSonata form (intro)<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1c5jfqkkoFG9quUV-aNglRuny7wliP8hHV0rimuLyGWM\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n
<\/td>\nClementi Sonatina<\/td>\nhttps:\/\/docs.google.com\/presentation\/d\/1RObHK4sssSJg3gs861nedQgt40UcmgyHA584OAevpQU\/edit?usp=sharing<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"author":3,"menu_order":9,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"back-matter-type":[39],"contributor":[],"license":[],"class_list":["post-999","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\/999","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":8,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/999\/revisions"}],"predecessor-version":[{"id":6855,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/999\/revisions\/6855"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter\/999\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=999"}],"wp:term":[{"taxonomy":"back-matter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/back-matter-type?post=999"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=999"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}