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• Aural Idiom Drill: Practice with Harmonic Idioms
• Intervals and Chords with MacGamut
• Learning to Hear Chords in Popular Music
• Hearing Form
  (coming soon)
• MUSIC THEORY
• Theory Fundamentals
• Harmony 1 and 2
  (CMU only)
• Form Notes
• Species Counterpoint in Analysis and Composition
• Transposing Instruments
• 19th Century
• 20th Century
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Reductional Analysis using Species Counterpoint

Lecture notes:

• I: General

• II: First species

• III: Second species

• IV: More complex cases of second species

• V: Third species

• VI: Fourth species

• VII: Implied fourth species

Exercises:

• Bach, Cantata 106, i

• Bach, Cantata 156, i

• Beethoven, op. 2, no. 1, i

• Beethoven, op. 2, no. 3, ii

• Beethoven, op. 10, no. 1, ii

• Beethoven, op. 10, no. 3, i

• Beethoven, op. 14, no. 2, ii

• Beethoven, op. 26, i

• Beethoven, op. 31, no. 1, ii

• Beethoven, op. 31, no. 3, ii

• Beethoven, op. 109, i

• Chopin, Nocturne, op. post. 72, no. 1

• Clementi, op. 36, no. 6, i

• Handel, "Süßer Blumen"

• Haydn, Sonata XVI/35, ii

• Mozart, "Ah! chi mi dice mai"

• Mozart, Fantasy K. 397

• Mozart, Piano Sonata K. 284

• Mozart, Piano Sonata K. 545

• Schubert, "Du bist die Ruh"

• Schubert, "Frühlingsglaube"

• Schubert, Moment Musicale, op. 142, no. 2

• Strauss, Die Fledermaus, "Mein Herr, was dächten Sie von mir"