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Examples
Meter & Rhythm
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Scales & Tonalities
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12-Tone
Chords & Harmonies
Tonic & Dominant
Inversions of V7
Predominant
Triads – ii, ii°6, iv, & IV
Sevenths – ii7 ii°6/5 iv7 IV7
vii°6 and vii°7
Common-Tone Diminished Seventh Chords
vi/VI Submediant
Mediant III/iii
6/3 Chords
6/4 Chords
Arpeggiating 6/4
Pedal 6/4
Cadential 6/4
Passing 6/4
Borrowed Chords / Modal Mixture
Neapolitan
Applied Chords / Secondary Dominants
Augmented-Sixth Chords
Harmonic Progressions
Phrase Model
Harmonic Expansions
Passing Chords
Neighbor Chords
Voice Exchange
Sequences
Diatonic Sequences
Applied Chord Sequences
Other Chromatic Sequences
Modulation / Tonicization
Descending Step Bass
Major
Minor / Lament
Cadences
PAC – Perfect Authentic Cadence
IAC – Imperfect Authentic Cadence
Half Cadence
Phrygian Half Cadence
Deceptive Resolution & Cadence
Embellishing Tones / Non-harmonic Tones
Passing Tones
Neighbor Tones
Suspensions
Anticipations
Appoggiatura
Pedal Tone
Form
Phrase
Sentence
Period
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Ternary
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Variations
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Sonata Rondo
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Texture
Fugue & Canon
Fugue Themes
Fugue Exposition
Homorhythmic
Homophonic
Antiphony
Monophony
Polyphony
Single Line Instrument
Melody & Accompaniment
Alberti Bass
20th Century & 21st Century
Languages
Centric
Modal
Quartal / Quintal
Cyclic / Symmetrical
Whole Tone
Octatonic
Serial
Hexachordal Combinatoriality
Complete 12-Tone Aggregate
Minimalist
Small set / Basic cell
[012]
[013]
[014]
[015]
[016]
[024]
[025]
[026]
[027]
[036]
[037]
[048]
Process
Techniques & Texture
Extended Tonality
Extended Tertian Chords (9th, 13th)
Planing
Ametric
Score Reading
Clef Variety
Figured Bass
Transposing Instruments
Composers
Pre-Baroque Composers
Baroque Composers
Classical Composers
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Clef Variety
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