| I and IV Small Triads with 2 to 1 Decoration |
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| ii7 - V7 - I |
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ii7-V7 and Substitutes |
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| 20th Century Chord Progressions (1977) |
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| 20th Century Chord Progressions – Major Key |
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| 20th Century Harmonic Vocabulary |
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| 20th Century Harmonic Vocabulary and Progressions |
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| 20th Century Minor Key Chord Progressions |
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| 20th Century Modulation |
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Borrowed Major, Mixed Major, Major Polychord, and Cycle Majors Tonality |
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| Cadences (circa 1973) |
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| Chord Connections, Part-Writing, Voice-Leading |
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| Chord Progressions – What to Expect in Popular Music |
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| Chord Substitution (Parts 1-2) |
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| Chord Substitution (Parts 3-4) |
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| Chord Substitution (Parts 5-6) |
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| Chord Substitution (Parts 7-8) |
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| Chord Substitution (Parts 9-10) |
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Chord Substitutes: ii7-V7-I Substitutes |
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Chords in 3rds, 6ths, 10ths, and Triads |
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| Chromatic Tones and Lower Neighbor Tones |
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| “Classical” Harmony for Guitar: I-IV-V(7)-I |
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| Common Chord Progressions and Harmonic Principles |
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| Common Chord Progressions and Harmonic Principles (1974) |
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Common Chords Derived from Scales |
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Common Chord Types |
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Complete Chart of Chord Types |
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| Complete Formulas for Discovering All Voicings of All Chords |
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| Complete Normal Vocabulary for 20th Century (Max Steiner) Sounds |
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| Condensed Tonality Sheet |
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| Descending Root in Minor |
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Diatonic Chords and Progressions, circa 1967 |
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Diatonic Major Key Tonality |
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| Diminished 7th Chords – Common Progressions and Principles |
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| Dominant 7th Sounds |
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| Embellishing Tones, Broken Chords, and Decoration |
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| Embellishment and Substitution |
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|
Examples of Modulation |
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|
Examples of Romantic Modulation |
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| Expanded Diatonic Colors |
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| Expanded Diatonicism – Progression Using Only R 3 5 9 |
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| Expanded Key Chord Move |
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| Favorable Matings of Qualities and Degrees – List |
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| Favorable Mating of Quality and Degree |
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| General Harmonic Tendencies – Tonality Oriented |
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| Harmonic Devices |
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| Harmonic Devices for Gospel Feels |
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| Harmonic Improvement, 1976 (parts 1-2) |
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| Harmonic Improvement, 1976 (parts 3, 4, 5) |
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| Harmonic Improvement, 1977 (parts 1, 3, 6) |
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| Harmonic Improvement Concepts, Application of |
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| Harmonic Improvement Concepts - common |
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| Harmonic Improvement Quizzes |
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| Harmonic Tendencies and Common Progressions |
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| Harmonic Vocabulary - Major Key - part 1 |
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| Harmonic Vocabulary - Major Key - part 2 |
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| Harmonic Vocabulary - Major Key - part 3 |
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| Harmonic Vocabulary - Major Key - part 4 |
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| Harmonic Vocabulary - Major Key - part 5 |
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| Harmonic Vocabulary - Major Key - part 6 |
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| Harmonic Vocabulary - Major Key - part 7 |
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| Harmonic Vocabulary - Major Key - part 8 |
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| Harmonic Vocabulary of Standard Tunes |
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| Harmonization of Scale Lines (1991-08-28) |
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| Harmonized Scales and More Using Open Triads |
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Harmony |
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| Introduction to Expanded Diatonicism |
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|
Impressionistic Harmonic Tendencies, Choice |
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Impressionistic Harmonic Tendencies and Modulations |
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Impressionistic Passages and Cycles |
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| IV and V in the Major Scale |
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| Learning To Use Altered Dominants - part 1 |
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| Learning To Use Altered Dominants - part 2 |
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| Learning To Use Altered Dominants - part 3 |
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| Learning To Use Altered Dominants - part 4 |
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| Main Harmonic Resources in Contemporary Music |
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|
Major Key Modulation Practice Patterns |
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|
Major Keys Poly-Chords – Complete Vocabulary in Modern Harmony |
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| Melodizing Chord Progressions (02-25-1981) |
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Minor7b5 Family, m6 - min-maj7 Family Sounds |
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| Minor Key Harmonic Vocabulary Reference Page (1974-06-11) |
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| Misc. Notes on Solo Guitar Devices |
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| Modern and Classical Tonality and Rhythm Types |
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| Modes, Scales, Tonal Resources |
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|
Modulating to Key of V (and IV, iv, v) |
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| Modulation (1974-02-12) |
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| Modulation - Diatonic Modulation and Other Modulations (1973-05-01) |
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| Modulations and Temporary Modulations (1973-09-17) |
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Modulation via Minor 6 Family Chords |
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More Chord Progressions |
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| Most Common Harmonic Tendencies in Jazz and Related Music |
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Multi-Tonal Major Key Colors |
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| Non-Harmonic Tones |
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| Non-Voice Leading Exercises on Important Progressions |
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| Normal 18th and 19th Century Harmonic Vocabulary |
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| Other Major Type Tonalities |
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Progressions Built from SWR Movements and SWB Lines |
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Progressions for Intros, Endings, and Interludes |
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| Progressions Using 2nd Inversions |
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| Reharmonization, Substitutions, and Counterlines |
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| Scale-Chord Relationships in Popular Music |
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| Secondary Dominants in Common Progressions |
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Secondary Dominant Progressions |
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| Secondary Dominants - Tonicization - part 1 (1975-05-15) |
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| Secondary Dominants - Tonicization - part 2 (1975-05-15) |
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| Secondary Dominants - Tonicization - part 3 (1975-05-16) |
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| Secondary Dominants - Tonicization - part 4 (1975-05-17) |
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| Secondary Dominants - Tonicization - part 5 (1975-07-01) |
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| Secondary Dominants - Tonicization and Modulation (1973) |
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| Secondary V7 Chords - Secondary Dominants (1989-1990) |
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| Secondary Subdominants plus Catalogue of Cycle 4th Patterns |
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| Seventh Chords |
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Standard Resolutions of V7 to I or i |
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| Standard Resolutions of V7 to I or i |
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| Summary of Most Common Chord Movements in Modern Jazz Harmony |
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| The II Major Chord in the Major Key |
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| Theory of Chord Progressions |
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|
Tonal Architecture |
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|
Tonal Centers of Different Types of Tonalities (with explanation) |
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| Tonality and Rhythm Types (Organization for Improvisational Thinking) |
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| Tonality Types for Solo Guitar |
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| Tonality Types – Modulation & Tonality Transitions |
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| Triads in Root Position |
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Triads in 1st Inversion |
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Triads in 2nd Inversion and Figured Bass |
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Understanding Chord Progressions |
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| Vocabulary Reference Page – The 12 ii-V Groups within a Major Key |
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| Whole Tone Modulators (major key) to New I |
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| Whole Tone Derived Chords |
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| Whole Tone Sounds Using One Structure at a Time |
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