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1-to-1 Baroque Counterpoint Organized Over 3-Unit Bass Lines |
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2-to-1 Baroque Counterpoint |
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| 2-to-1 Bass Movement Contrary Motion |
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3-Part Baroque Harmony and Counterpoint |
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| 20th Century Diatonic Contrary Patterns |
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| 10ths and Contrary Motion or Stationary Voices |
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| 10ths and Inner Pedal |
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| 4-to-1 and 3-to-1 Bass Dropping by 2nd |
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| Application of 1-to-1 Counterpoint Studies |
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| Bach Key Changes and Progressions |
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| Bach-Type Pedal Points |
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| Baroquish Wonder Other Chords and Progressions |
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Baroque 2- and 3-Part Counterpoint Rhythmic Figures |
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| Baroque 2-Voice Counterpoint |
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| Baroque and Classical-Romantic Symmetric Progressions |
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| Baroque Chord Progressions Contrapuntal Style, Part 1 |
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| Baroque Chord Progressions Contrapuntal Style, Part 2 |
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 Baroque Contrary Motion Sounds, 1982-05-07, 1983-10-17, 1980-05-29 |
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Baroque Counterpoint (1-to-1) |
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| Baroque Counterpoint: Top 2 Strings (mainly) |
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| Baroque Counterpoint and the Guitar Fingerboard |
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| Baroque Counterpoint: Cycle of 4ths - 2 Bass Notes per Chord |
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| Baroque Counterpoint (2 Voices Yielding 3 via Ties) |
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| Baroque Counterpoint Application of 1-to-1 Counterpoint |
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| Beginning Counterpoint, 2-Voice I-IV-V |
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Baroque Harmonizations – Miscellaneous |
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| Baroque Harmonizing of Repeated Descending 4ths |
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Baroque in A |
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| Baroque Major Key Vocabulary |
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| Baroque Melodic Tendencies Organized over Basses |
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| Baroque Minor Key Cycle of 4ths |
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Baroque Minor Key Vocabulary and Exercises |
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| Baroque Modulation or Secondary Chord Openers |
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| Baroque Modulation Schemes |
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| Baroque Practice Program |
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| Baroque Progressions Using 1st Inversion Triads |
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| Baroque Tonality Inspired by George Van Eps |
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Bass in Ascending 6ths |
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| Bass View and Summary of Baroque Harmonic Vocabulary |
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| Cadences |
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| Cadential Bass Formulas |
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Catalogue of Common Baroque Harmonies and Their Progressions |
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| Chart of Bass Harmonization for Baroque Period |
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| Chorale Ideas |
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| Chromatic Dm Fugue |
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| Classical-Romantic Progressions |
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| Common Baroque Harmonic Tendencies |
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| Common Diatonic Chord Progressions in Baroque Harmony |
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| Counterpoint Based on Harmonic Intervals from Bass |
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| Counterpoint Focusing on 3rds with 3, 4, & 5 of Key in Soprano |
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Counterpoint Exercises: Adding a Part to Common Bass Lines |
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| Counterpoint Exercises Focusing on Bass in Motion |
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| Counterpoint Exercises Imitation |
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| Counterpoint Exercises Implying One Chord with Series of Intervals |
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| Counterpoint Exercises Lower Voice Movement |
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Counterpoint Exercises - Major Key_p1 (02-10-78 & 06-28-78) |
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| Counterpoint Exercises - Major Key_p2 (06-27-78 & 08-16-78) |
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| Counterpoint Exercises Motion in Alternating Voices |
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| Counterpoint Exercises Miscellaneous 01 |
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| Counterpoint Exercises Miscellaneous 02 |
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| Counterpoint Exercises - 2-to-1 (1978-02-24) |
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| Counterpoint Over a Major Chord |
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| Counterpoint Studies Bass Movement |
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Counterpoint Types and Models |
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| Diatonic 6ths & Inner Pedals Leading into 6ths & Soprano Pedals |
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| Diatonic 6ths and Inner Pedals: Introduction |
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| Diatonic 6ths with Inner Pedals - Longer Phrases |
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| Diatonic 6ths with Inner Pedal - A form of "Sustained Scale Technique" |
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| Diatonic Chord Progressions, Short Phrases to Illustrate |
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| Diatonic Cycles of 4ths Major Scale |
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| Diatonic Harmony in 4ths or 5ths - Major Key |
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| Dorian and Aeolian 6ths with Inner Pedals |
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| Examples of Baroque Modulation |
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| Examples of Progressions Using 1st Inversions |
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Favorite Bachian Type Progressions in 6/8 |
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| George Van Eps-ish Counterpoint |
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Harmonic Patterns (1973) |
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Harmonic Patterns (1976) |
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Harmonic Patterns (1978) |
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Harmonic Patterns Using Root Position Close Triads |
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| Harmonization of Scalewise Melodies |
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| Indicative Examples of Baroque For Improvisation and Composing |
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| Intervals Used in Implied Major Triads |
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| Melody and Harmony Relationships in Minor Keys |
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| Modern Counterpoint Studies |
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| Modulation (part 1) |
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| Modulation (part 2) |
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| Modulation (part 3) |
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| Modulation (parts 4 & 5) |
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| Neo-Baroque Ascending Diatonic Bass Progressions |
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Neo-Baroque Contrapuntal Harmony, 1990-09-14 |
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| Neo-Baroque Descending Bass Progressions |
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Neo-Baroque Light Colors: Diatonic Major Key |
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Old Counterpoint Converted into Baroque Counterpoint |
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| Phrases with Inversions and Embellishing Tones (Chorale Style) |
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| Phrases with Root Position Triads (Chorale Style) |
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| *Progressions Using 1st Inversions; Figured Bass |
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| Progressions Using Open & Incomplete Triads Sample Solutions |
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| Semi-Contrary, Real Contrary, Accompaniment Techniques, Broken Chords |
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| Some of the Most Common Chord Progs_Baroque Major Harmony |
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| Some Ways to Make Music with Triad Chord Scales |
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Soprano Harmonization in the Baroque |
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Soprano Harmonization or 1, 2, 3 (and 7) |
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Sopranos and Basses to be Harmonized |
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| Structures |
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| Summary and Bass View of Baroque Harmony |
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Summary of Diatonic Chord Progressions in Baroque Harmony |
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| Top-End Open Triad Diatonic Cycle of 4ths |
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Triads in 1st Inversion |
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| Triads in 2nd Inversion |
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| Typical Key Schemes and General Plans for Baroque Improvisation |
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| Unusual Diatonic Chords in Baroque Minor |
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| Untitled Baroque Counterpoint Etude (Ted Greene) |
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