Harmony Supplements ChapterLecture NotesWorkbook RecordingsOther 4: Triads and Seventh Chords Quick Guide (PDF) 6: Procedures of Four-Part Writing Lecture Slides (PDF) Audio:Why Voice-Leading Matters 7: I, V, and V7Chapter 7 Lecture Notes Videos:1: Simple Voicing2: Descending Soprano3: A Long Melody 8: I6, V6, and VII6Chapter 8 Lecture NotesChapter 8 Recordings 9: Inversions of V7Chapter 9 Lecture NotesChapter 9 Recordings 10: Leading to V: IV, II, and II6Chapter 10 Lecture NotesChapter 10 Recordings 11: The Cadential 64Chapter 11 Lecture NotesChapter 11 Recordings 12: VI and IV6Chapter 12 Lecture NotesChapter 12 Recordings 13: ii7 and IV7Chapter 13 Lecture NotesChapter 13 Recordings 14: Other Uses of IV, IV6, and VIChapter 14 Lecture NotesChapter 14 Recordings 15: V as a Key AreaChapter 15 Lecture NotesChapter 15 Recordings 16: III and VIIChapter 16 Lecture NotesChapter 16 Recordings 17: 5/3 Chord TechniquesChapter 17 Lecture NotesChapter 17 Recordings 18: Diatonic SequencesChapter 18 Lecture NotesChapter 18 Recordings 19: 6/3 Chord TechniquesChapter 19 Lecture NotesChapter 19 Recordings 20: 6/4 Chord TechniquesChapter 20 Lecture NotesChapter 20 Recordings 21: Melodic FigurationChapter 21 Lecture NotesChapter 21 Recordings 22: Rhythmic FigurationChapter 22 Lecture NotesChapter 22 Recordings 23: Leading-Tone Seventh ChordsChapter 23 Lecture NotesChapter 23 Recordings 24: MixtureChapter 24 Lecture NotesChapter 24 Recordings 25: Remaining Uses of Seventh ChordsChapter 25 Lecture NotesChapter 25 Recordings 26: Applied V and VIIChapter 26 Lecture NotesChapter 26 Recordings 27: Diatonic ModulationChapter 27 Lecture NotesChapter 27 Recordings 28: Seventh Chords with Added DissonanceChapter 28 Lecture NotesChapter 28 Recordings 29: The Phrygian II (Neapolitan)Chapter 29 Lecture NotesChapter 29 Recordings 30: Augmented Sixth ChordsChapter 30 Lecture NotesChapter 30 Recordings 31: Other Chromatic ChordsChapter 31 Lecture NotesChapter 31 Recordings