Indepth Table of Contents

Lesson 1 - The Value of Reading Music Notation..

Lesson 2 - Note Value. The Whole Note, The Half Note, The Quarter Note, Standard Rock Pattern, The Eighth Note, The Dotted Quarter Note, The Sixteen Note, The Dotted Eighth Note, The Thirtysecond Note, The Triplet Family, The Common Eighth Note Triplet, Melodic Use of Triplets, Quarter Note Triplets, Sixteenth Note Triplets, Half Note Triplets.

Lesson 3 - Pitch and Note Value (Clefs). The Staff, Clefs, Treble Clef, Bass Clef, The Alto Clef, The Grand Staff, All The White Notes in Treble, All The White Notes in Bass Clef, The Other Notes, Music Distance, Conclusion.

Lesson 4 - Intervals. Nine Basic Distances, Intervals Within the Octave, Music Examples of the Above, The Designated Augmented and Diminished Intervals, The Augmented Fourth/Tritone, The Diminished Fifth, The Augmented Fifth, Classifying the Intervals, Compound Intervals, Musical Examples of the Above, Inverting the Intervals, Musical Examples of Each Inversion, Using the Keyboard, Define These Intervals.

Lesson 5 - Linear Intervals. The Linear Intervals, Melodies for Analysis.

Lesson 6 - Vertical Intervals. Musical Examples to Sing with the Vertical Intervals, Unison, The Octave, The Perfect Fifth, The Perfect Fourth, By Thirds, The Sixths, The Second, The Seventh, The Augmented Fourth, The Diminished Fifth, Reviewing Consonant vs. Dissonant Intervals.

Lesson 7 - Where Chords Come From. The Four Triads, Labeling each Part of the Chord, Six Voicings, The First Inversion, The Second Inversion, Seventh Chords, Examples of Each, Major Triad, Minor Triad, Augmented Triad, Diminished Triad, 24 Voicing Positions For Each Kind of Seventh Chord, Major Triad, Minor

Triad, Augmented Triad, Diminished Triad, 9th, 11th, and 13th Chords. Lesson 8 - Rhythm and Time Signatures -. Time Signatures and Note Relations, How Many and the Pulse, Sample Measures of Music in Each Time Signature, Incomplete Measures, Bach Chorale.

Lesson 9- Modes. Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.

Lesson 10 - The Major Scale.

Lesson 11 - Major Scale Keys and Key Signatures. Work Out the Scales, Introducing Chromatics.

Lesson 12 - Chords In the Major Scale. Alternative Names, Seventh Chords

Lesson 13 - Chords and Chord Scales. The Gambler, Rains drops Keep Falling on My Head.

Lesson 14 - Three Minor Scales and How They Grew.

Lesson 15 - Chords In The Minor Key. Aeolian, Harmonic Minor, Melodic Minor, Seventh Chords in Minor, Aeolian, Harmonic Minor, Melodic Minor.

Lesson 16 - The Mystery Scale. Here's the Scale in C: Scale With Triads, Scale With Seventh Chords.

Lesson 17 - Other Names for Notes.

Lesson 18 - Ground Rules for Creating Melodies. Two Types of Intervals, Vertical Consonant Intervals, Vertical Dissonant Intervals, Vertical Dissonant Intervals, Melodic Linear Dissonant Intervals, Three Kinds of Motion, How Vertical Voices Should Move, Guidelines for Effective Melody Writing, Song Analyzation.

Lesson 19 - Technique #1: Tutti Writing. Four Uses of Technique #1, General Guides for Two-Voice Tutti Writing, Application and Analysis with Dorian Mode, Second Melody Below the Original Writing in Each, Mode, E Phrygian, F Lydian, G Mixolydian, A Aeolian.

Lesson 20 - Technique #2: Two Voices Against One. Writing Guidelines for Technique #2, The Beginning and the End, Application to Dorian Melody, Second Melody Bottom Line, Phrygian, F Lydian, G Mixolydian, A Aeolian, C Ionian.

Lesson 21 - Triplets and ¾ Time.

Lesson 22 - Technique #3: 4 Notes Against 1. The 5-Note Scale-like Group, The Three-Note Group, Melodic Figures for Filling In, More on Handling the Third, Handling the Next to Last Measure, Second Melody Top Line, Second Melody Bottom Line, Modal Analysis, D Dorian, E Phrygian Mode: Second Melody Top Line, F Lydian: Second Melody Top Line.

Lesson 23 - Technique #4: Syncopation and Suspensions. How Syncopation Works, Constant Syncopation, Dissonant Syncopation, Handling Dissonance in This Technique, Resolution List for Second Melody/Top Line Resolution List for Second Melody/Bottom Line, Handling the Next to Last Measure, 2nd Melody Top Line 2nd Melody Bottom Line, Sample Examples, Dorian:2nd Melody Top Line, Dorian:Second Melody Bottom Line, Phryian:Second Melody Top Line, Phrygian: Second Melody Bottom Line, Adding Melodic Interest to the Syncopated Line, Using Eighth Notes, With a Quarter Note, The Repeated Melody Note, More Use of Eighth Notes.

Lesson 24 - Technique #5: The Whole Pie.

Part II: Three-Part Counterpoint.

Lesson 25 - Overview and Use. Adding a Third Voice, Orchestration Applications With These Voicings, Expanding Chord Vocabulary, The Diminished Chord, Use of Non-Tonic Chords, Locating the Melody, Most Used Techniques, Conclusion

Lesson 26 - Technique #6:Tutti Writing with Three Voices. Thinking Three-Part Writing, Work Procedure for Various Melodic Positions, Melody in the Top Line Melody in the Middle Line, Melody in the Bottom Line, But What About the Chord Progressions?, First Example of Three Part Writing, Alternate Solution to the First Example, Why the Alternate is Weak, Working with 3rd of the Chord in the Bass, Another Reason Why the Alternate is Weaker, Spacing the Voices, Same Bass, Different Melodies, Hidden Octave and Fifths, Back to the Example!, Same Bass, Second Example, Three Parts in Dorian, Melody in the Soprano, Chord Progressions and Chord Voicings, Cadential Ending, Chord Voicings, Dorian Chord Progressions, Observations, Melody in the Middle Voice, Chord Progressions, Cadential Ending, The Only Critique, Melody in the Bottom, Chord Progressions, The Cadential Ending, The Last Bar, Phrygian Mode, Phrygian Melody in the Top Line, Chord Progressions, Chord progressions, Cadential Ending, Chord Voicings, Phrygian Melody in Middle Line, Phrygian Melody in the Bottom Line, Lydian Mode, Chord Progressions, Cadential Ending, Melody in the Top Line, Lydian Chord Progression Analysis, Mixolydian Mode, Chord Progressions, Cadential Ending, Melody in the Top Line, Mixolydian Chord Progression Analysis, Melody in the Bottom Line, Mixolydian Chord Progression Analysis, Aeolian Mode, Aeolian Chord Progressions, Cadential Ending, Melody in the Top Line, Aeolian Chord Progression Analysis, Melody in Middle Line, Aeolian Chord Progression Analysis, Ionian Mode, Cadential Ending, Chord Progression Insights, Melody in the Top Line, Ionian Chord Progression Analysis, Melody in the Bottom Line, Ionian Chord Progression Analysis.

Lesson 27 - Pieces for Analysis. Concerto Grosso #5 by A. Corelli, Concerto Grosso #3 by A. Corelli, Lasciatemi Morir by Francesco Provenzale.

Lesson 28 - Technique #7: Two Voices Against One. Overview of Technique #7, Through Twentieth Century Eyes, Work Process, Melody in the Top Line, Melody in the Middle Line - Part 1, Melody in the Middle Line - Part 2, Melody in the Bottom Line - Part 1, Melody in the Bottom Line - Part 2, Melody in the Bottom Line - Part 3, Melody in the Bottom Line - Part 4, Dorian, Melody in the Top Line, Melody in the Middle Line - Part 1, Melody in the Middle Line - Part 2, Phrygian, Melody in the Middle Line, Melody in the Bottom Line, Melody in the Top Line, Lydian, Melody in the Top Line, Melody in the Middle Line -Part 1, Melody in the Middle Line - Part 2, Remaining Modes.

Lesson 29- Analysis for Technique #7. Concerto Grosso #2 by A. Corelli, Concerto Grosso #3 by A. Corelli, Gavotte by J.S.D. Bach, Fantasia by Tomkins, Sarabanda by A. Corelli.

Lesson 30- Technique #8 - Four Notes Against One. Overview of Technique #8, Melodic Combinations, Four-Note Figures Used by Bach, Four-Note Figures Used by Palestrina, Work Process, Melody in the Top Line, Melody in the Middle Line - Part 1, Melody in the Middle Line - Part 2, Melody in the Bottom Line - Part 1, Melody in the Bottom Line - Part 2, Melody in the Bottom Line, Part 3, Melody in the Bottom Line - Part 4, The Second Option, Dorian Analysis, Do the Following for each example:, Melody in the Middle Line, Melody in the Bottom Line, Melody in the Middle Line, Melody in the Top Line, The Second Option.

Lesson 31 - Analysis for Technique #8. Allemanda by A. Corelli, Three Voice Setting.

Lesson 32 - Technique #9:The Ligature. Before Ligatures, After Ligatures, Ligatures in the Bass Voice, A Wrong Example, The Old Argument:Parallel Fifths, Dorian Example, Melody in the Middle Line, Introducing the 6/4 Chord and Pedal Point, The 7-6 Suspension, Melody in the Bottom Line, Melody in the Top Line, Phrygian, Melody in the Middle Line, Melody in the Top Line, Melody in the Middle Line, Lydian, Melody in the Middle Line, Melody in the Bottom Line, Melody in the Top Line, Rewriting the First Bar.

Lesson 33 - Analysis for Technique #9. Haydn String Quartets Op. 20, No. 2 by Joseph Haydn, Communio by G. Dufay, Kryie Eleison by G. Dufay, Motet by G. Machaut, Motet by O. Lassus, Motet, Parce, Domine by J. Obrecht, Chanson, Adieu m'amour et ma maistresse by G. Binchois, Preludio by A. Corelli.

Lesson 34 - Technique #10:The Whole Pie. Dorian, Melody in the Middle Line, Melody in the Top Line, Melody in the Middle Line, Phrygian, Melody in the Middle Line, Melody in the Top Line, Melody in the Middle Line.

Lesson 35 - Analysis for Technique #10. Concerto Grosso #5 by A. Corelli, Concerto Grosso #1 by A. Corelli, Motet by Anonymous, Madrigal by G. Palestrina, Madrigal by G. Palestrina, Benedictus by G. Palestina, Pars Mea Dominus by G. Palestrina, Benedictus by T. Vittoria.

Lesson 36 - Final Thoughts. Professional Writing Issues, Sheherazade by Rimsky-Korsakov, Modality, Modes in Other Keys, More on Modal Progressions, What's Next. Publisher's Comments Depending on the school, the material covered in this present edition is the equal of one - two semesters of work. Some schools focus on two-part counterpoint for a semester and three-part for a semester, while others combine both in the same time frame.