Music Harmony Course

Lesson 1 • Pitch, Octaves, and the Staff

Introduces pitch naming, octave registers, and staff notation as the entry point for all harmonic study. Builds the reading fluency needed throughout the course.

Lesson 2 • Key Signatures and the Circle of Fifths

Maps all major and minor keys through the circle of fifths. Enables rapid key identification essential for harmonic analysis.

Lesson 3 • Intervals: Distance Between Pitches

Defines melodic and harmonic intervals by size and quality. Interval recognition underpins chord construction covered in later chapters.

Lesson 4 • Minor Scales and Their Variants

Contrasts natural, harmonic, and melodic minor forms. Students gain the modal flexibility required for minor-key harmonic analysis.

Lesson 1 • Diatonic Triads in Major and Minor

Derives the seven diatonic triads of major and minor keys and assigns Roman numeral labels. Sets the foundation for harmonic function analysis.

Lesson 2 • Triad Inversions and Figured Bass

Presents first and second inversions and their figured bass symbols. Inversion literacy is required for voice-leading work in later chapters.

Lesson 3 • Triad Anatomy and Construction

Defines root, third, and fifth as triad components built from stacked thirds. Connects interval knowledge from Chapter 1 to chord spelling.

Lesson 4 • Major and Minor Triads

Contrasts major and minor triad construction and sound. Establishes the two most common chord qualities used in tonal harmony.

Lesson 1 • Tonic, Subdominant, and Dominant Functions

Assigns functional roles to diatonic chords based on their relationship to the tonic. Provides the analytical lens used throughout all remaining chapters.

Lesson 2 • Plagal and Deceptive Cadences

Expands cadence vocabulary with plagal and deceptive endings. Students learn how unexpected resolutions create expressive harmonic variety.

Lesson 3 • Authentic and Half Cadences

Defines cadence types as harmonic punctuation marking phrase endings. Cadence recognition is essential for formal analysis introduced later.

Lesson 4 • Common Chord Progressions

Surveys high-frequency progressions such as I–IV–V–I and ii–V–I across styles. Builds a practical progression toolkit for composition and analysis.

Lesson 1 • Part Writing Progressions and Error Review

Integrates all voice-leading rules in multi-chord progressions with systematic error checking. Prepares students for the analytical work in subsequent chapters.

Lesson 2 • Smooth Voice Leading Techniques

Prioritises stepwise motion and common-tone retention between chords. These principles minimise errors and produce natural-sounding progressions.

Lesson 3 • Introduction to Four-Part Texture

Defines soprano, alto, tenor, and bass ranges and their interaction. Establishes the SATB framework used in all part-writing exercises.

Lesson 4 • Parallel and Hidden Fifths and Octaves

Identifies forbidden parallel and hidden motion errors and their corrections. Error recognition is a core skill for all part-writing assignments.

Lesson 1 • Introduction to Extended Chords

Previews ninths, elevenths, and thirteenths as extensions beyond the seventh. Provides conceptual grounding for advanced harmonic colour explored later.

Lesson 2 • The Dominant Seventh and Its Resolution

Focuses on V7 as the most structurally important seventh chord in tonal music. Mastery of its resolution is prerequisite for secondary dominant study.

Lesson 3 • Seventh Chord Inversions

Presents all four positions of seventh chords with figured bass symbols. Inversion fluency enables richer bass lines and smoother voice leading.

Lesson 4 • Diatonic Seventh Chords in Context

Surveys all seven diatonic seventh chords and their typical harmonic roles. Expands the harmonic palette available for composition and analysis.

Lesson 1 • Borrowed Chords and Modal Mixture

Introduces chords borrowed from the parallel mode to add expressive colour. Students analyse mixture chords and incorporate them into original progressions.

Lesson 2 • Secondary Dominants

Defines V/x chords as temporary dominant relationships to non-tonic scale degrees. Expands harmonic vocabulary beyond strictly diatonic progressions.

Lesson 3 • Direct and Sequential Modulation

Covers abrupt and sequence-driven modulation techniques for more dramatic key changes. Broadens compositional options beyond pivot-chord methods.

Lesson 4 • Secondary Leading-Tone Chords

Extends secondary function to diminished seventh chords applied to non-tonic chords. Adds a darker chromatic colour to the harmonic toolkit.

Lesson 1 • Rondo and Through-Composed Forms

Examines refrain-based and continuously evolving formal designs. Expands formal analysis skills to repertoire beyond binary and sonata structures.

Lesson 2 • Sonata Form and Harmonic Drama

Maps exposition, development, and recapitulation onto harmonic goals and tensions. Reveals how large-scale key relationships create narrative arc.

Lesson 3 • Harmonic Prolongation and Reduction

Introduces Schenkerian-style reduction to reveal underlying harmonic motion. Students distinguish structural chords from embellishing harmonies.

Lesson 4 • Annotated Score Analysis Project

Synthesises all analytical tools in a complete score annotation assignment. Develops the professional analysis workflow used in advanced study and teaching.

Lesson 1 • Harmonising a Given Melody

Selects appropriate chords for each melodic note using functional and voice-leading criteria. Integrates all prior harmonic knowledge into a practical creative task.

Lesson 2 • Portfolio Review and Artistic Reflection

Compiles and evaluates all compositions and arrangements from the course. Develops self-assessment habits and articulates a personal harmonic voice.

Lesson 3 • Composing Original Chord Progressions

Guides students through creating progressions with intentional harmonic narrative. Develops compositional decision-making grounded in functional harmony.

Lesson 4 • Reharmonisation Techniques

Replaces original chords with functionally equivalent or colouristically richer alternatives. Builds creative flexibility and stylistic range in harmonic thinking.