Music Theory Examples by BI-POC composers

	A	B	C	D	E	F	G	H	I	J	K	L	M
1	This spreadsheet is the collaborative work of music theorists from around the world. Anyone can contribute! Click here to submit an example. For more information about our group, visit composersofcolor.hcommons.org. INSTRUCTIONS -- The goal is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Examples from popular, vernacular, world, and other repertoires welcome; scores are not necessary! Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)	329 examples so far!
2	Unit	Topic	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)
3	Diatonic Harmony		Triad Identification	Vincente Lusitano	Heu me domine	1551	throughout	Portuguese, of African descent, man	https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf		https://www.youtube.com/watch?v=Q5ApDUYxRGc	nearly every verticality is triadic; good fundamentals exercise for identifying root, inversion, and quality of triads
4		Primary chords and Tonal Functions	I, V, and V7	Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. ii	1773	mm. 79–86	Afro-European, Caribbean heritage			https://open.spotify.com/track/3UvjsAt8Rg3l6x8HL3wjCZ?si=O3OWK5ADS1ivNxAJ_SvJvw	all root-position I, V, and V7
5		Joseph Boulogne, Chevalier de Saint Georges	Symphony no. 2 in D Major, Op. 11, mvt. iii (Presto)	1779	mm. 1–47, mm. 48–67	Afro-European, caribbean heritage	https://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=4pfSI-g6dcg&list=RD4pfSI-g6dcg&start_radio=1&t=13	DM section is almost exclusively root position I and V throughout; then D minor section similarly opens with i-V alternation; entire DM section is diatonic so would be accessible early in the curriculum
6		Francis Johnson	Victoria Gallop	ca. 1839	m. 17	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin		https://www.youtube.com/watch?v=nD7_y0ucv9U	very dramatic buildup to adding the seventh to a V7 chord; leads to interruption and seventh resolves in an inner voice
7		Joseph White (José Silvestre White Lafitte)	Zamacueca, Op. 30 (for violin and piano)	1897	throughout	Afro-Cuban	https://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)		https://www.youtube.com/watch?v=TgG-5R2ICOk	lots of tonic and dominant alternation, with some secondary dominants and passing 6/4 chords; would make a great listening example for tonic and dominant function; discussion questions: how might a composer create variety in a piece that primarily focuses on tonic and dominant? (opens discussion to aspects like instrumental techniques, relationship to dance, etc.
8		Bob Cole	The Katy-did, the Cricket and the Frog	1903	throughout	African American	https://imslp.org/wiki/The_Katy-did%2C_the_Cricket_and_the_Frog_(Cole%2C_Bob)			straightforward use of I and V7 throughout, useful for MT 1
9		Undine Smith Moore	Come Down Angels	1978	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	great for aural skills classes: melody arpeggiates I and V7 (well, really viiØ7) throughout; good for listening and analysis too though there is a tonic pedal under much of the dominant, but good for hearing the difference between prolongational and cadential dominants
10		T and D Functions	Francis Johnson	Victoria Gallop	ca. 1839	mm. 1–8, 21–28	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin		https://www.youtube.com/watch?v=nD7_y0ucv9U
11		Isaac Hazzard	Martha, from Terpsichore	1836	entire piece	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			melody harmonization with tonic and dominant: possible assignment -- give students the melody only and have them supply harmonies (melody very clearly implies tonic and dominant harmonies), have them use other pieces from the set to supply idiomatic accompaniment pattern
12		Dominant Lock	R. Nathaniel Dett	Mammy (no. 4 from Magnolia Suite)	1912	B section	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=rmmYKV4aO74&feature=youtu.be	ternary form; most of the B section sits over a Dominant pedal w/ six-four	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
13		Julia Perry	How Beautiful are the Feet	1954	mm. 33–36	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY
14		Minor Dominant	Will Marion Cook	"Exhortation: A Negro Sermon" (from Three Negro Songs)	1912	m. 3	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70
15		Julia Perry	"I'm a Poor Little Orphan" (spiritual arrangement)	1952	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=D6fQctPhHwQ	mix of strict Aeolian and minor Pentatonic
16		Irlando Maky López	Adios Guapi	2006	throughout				https://www.youtube.com/watch?v=RozQEJGpDIo&ab_channel=SonidosPac%C3%ADficos	alternating between tonic and minor dominant in cyclic ostinato for entire duration of the piece
17		IV	Francis Johnson	A Collection of New Cotillons, I. The Cymbals	1818	mm. 5–16	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
18		PD Function	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
19		Francis Johnson	Victoria Gallop	ca. 1839	mm. 21-28 / 0:24-0:31	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin		https://www.youtube.com/watch?v=nD7_y0ucv9U	Clear T, P, and D functions in this phrase.
20		Scott Joplin	Combination March	1896	throughout	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	good exercsize for hearing and/or analyzing T, PD, and D functions; class discussion might include changing distribution of harmonies between each section, changing harmonic rhythm, etc., rhetorical effect of departing from the straightforward harmonies at the beginning of each section to the more complex ones later on
21		Scott Joplin	Augustan Club Waltz	1901	throughout	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	good for listening to and analyzing T, PD, and D; also the possibility of a more subtle discussion of ii6 vs. IV (mm. 37ff.)
22		Lin-Manuel Miranda and Opetiaia Foa'i	We Know the Way (from Moana)	2016	throughout	Puerto Rican American / Pacific Islander			https://www.youtube.com/watch?v=ubZrAmRxy_M	great listening exercise for introducing T, PD, D functions. Also a good example to discuss colonialism since these functions are being used to represent the voices of Pacific islanders who clearly would not have used Western harmonic functions given the context depicted in the film. Rich potential for discussion of ideology, power, and musical structure.
23		"V-IV"	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
24		Plagal Progressions	Undine Smith Moore	Watch and Pray	1972	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=BKyL8xyYIYk	the iv chords are often colored with mixture notes and extensions, but there's plagal motion all over the place (e.g. mm. 29–30), see also iv9 as neighbor note within cadential six-four resolution (e.g. m. 27)
25		Cadence Types	PAC	Eugène Dédé	Buenas Noches!	1893	mm. 25-26, 43-44, 60-61	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			PACs with embellished 64
26		Florence Price	Song to the Dark Virgin	1941	mm. 5–6	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	accessible opening phrase ending with a very clear PAC, with some rich but approachable harmonies here (alternates I/V over dominant pedal, uses I added sixth chord, overall progression is I-vi-ii-V-I)
27		IAC	Eugène Dédé	Douleur et Gaîté	1886	mm. 1–8	Creole	https://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			parallel period with IAC--PAC pair; see also similar period in mazurka A section
28		HC	Eugène Dédé	Buenas Noches!	1893	Trio, mm. 85-85	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			HC with 6/4 chord (could be heard as PAC if modulated but then repeats/returns to original key)
29		Plagal Cadence	Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	mm. 8–10, 16–18	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)		https://open.spotify.com/track/4qDohQxvTqJsdxLxBnPaWA?si=3cc7c7b2fc24480a	actual plagal cadences; the first in one key, the second modulates to CM
30		Coleridge-Taylor Perkinson	String Quartet no. 1 ("Calvary"), mvt. i	1956	enitre piece	African-American	non PD: http://www.worldcat.org/oclc/969455183		https://youtu.be/5BnlqUu_x1U?t=140	plagal and other non-CP cadences; in dialogue with use of ragtime and spiritual topics
31		Tonicized HC	Joseph Boulogne	String Quartet Op. 1 no. 4, mvt. i	1773	mm. 28–29	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=2nYDZ39qo7U
32		Eugène Dédé	Buenas Noches!	1893	Trio, mm. 85-85	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			HC with 6/4 chord (could be heard as PAC if modulated but then repeats/returns to original key)
33		Eugène Dédé	Buenas Noches!	1893	mm. 52-53, 68-69	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
34		Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	m. 8, m. 12	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)			clear tonicized HC in F#m and AM respectively
35		Florence Price	First Sonata for Organ, mvt. iii (Finale)	1927	m. 113	African-American, Woman	http://www.worldcat.org/oclc/1099526351		https://youtu.be/ha0RIFZdxMg	central cadence of a large contrasting period	see annotated score at https://composersofcolor.hcommons.org/
36		Evaded Cadence	Joseph Boulogne	String Quartet Op. 1 no. 5, mvt. i	1773	mm. 19–33, m.45	Afro-European, Caribbean heritage	http://www.worldcat.org/oclc/775411657		https://open.spotify.com/track/1bkAfIf6H1E97DIJvrczs2?si=TT3l5QGHS_-ChrsyoFIxBw	nice examples of evaded cadences in S (mm. 19–33), and prominent/thematized evaded cadence in m. 45
37		Harry T. Burleigh	My Lord, What a Mornin'	1918	m. 10 (1st page, last system, 2nd m.)	African American man	https://imslp.org/wiki/My_Lord%2C_what_a_Mornin'_(Burleigh%2C_Harry_Thacker)		https://youtu.be/mJoDR704-BA ; Jessye Norman: https://www.youtube.com/watch?v=642dCC0nkRQ	Also a nice example of a period with expanded consequent as a result of this evaded cadence.
38		Elided Resolution	Scott Joplin	Antoinette	1906	mm. 19, 50, 86	African American	https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf		https://www.youtube.com/watch?v=-XBAgZzYURY
39		Tonic Expansion	I6	Scott Joplin	The Sacred Tree, from Treemonisha	1910	throughout	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	opening harmony and many subsequent structural tonics are i6; much of the harmony is too complicated for early in the semester but could still prompt a rich discussion about the relative feeling of stability, textual motivation for this harmony, etc.	see annotated score at https://composersofcolor.hcommons.org/
40		Isaac Hazzard	Elisabeth, from Terpsichore	1836	mm. 17–24	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			C section (mm. 17-24) is another I6-ending parallel period, this time in the subdominant. Typo in m. 17, where the first beat should parallel m. 20. The bass line drops out in m. 20, a good opportunity for students to discuss what bass note is implied (perhaps a Cad 64). Good phrases for working with I6, V42, and cadential patterns.
41		Isaac Hazzard	Susana, from Terpsichore	1836	throughout	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			A section: almost all of the chords are inverted (likely that a bass instrument was also used?); opening period pairs an "inverted" version and a "root-position" version, so nice opportunity to compare the different effects of inversions; mostly I and V7 inversions so accessible early in the curriculum; see also B section (I-V43-V65-I)
42		IV6/4 (Ped)	Isaac Hazzard	Henrietta, from Terpsichore	1836	m. 1	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html
43		Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	m. 39	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			very clear example; also lovely mode mixture variant in mm. 49–51 (starts as major version, then followed by mixture version)
44		Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	m. 3	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=vj7vR1Tt1Zo	opportunity to point out arpeggiating six-four in mm. 1–2 as well; see also more extensive example at final cadence	see annotated score at https://composersofcolor.hcommons.org/
45		Scott Joplin	The Sacred Tree, from Treemonisha	1910	p. 5	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	ped 6/4 with modal mixture	see annotated score at https://composersofcolor.hcommons.org/
46		Margaret Bonds	He's Got the Whole World in his Hand	1963	mm.5-6	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor			mm.5-6 ped 6/4 m. 8 pass 6/4
47		Betty Jackson King	It’s Me, O Lord (spiritual)	1988	mm. 3-6	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor
48		V6	Francis Johnson	Victoria Gallop	ca. 1839	mm. 1–8	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)	https://www.youtube.com/watch?v=nD7_y0ucv9U
49		Eugène Dédé	Buenas Noches!	1893	mm. 50, 65	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			mm. 56
50		Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	mm. 37–48 (B section)	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			super clear example of V6-I
51		VII6 (PT)
52		VII6 (NT)
53		Passing 6/4	Isaac Hazzard	Washington, from Terpsichore	1836	mm. 26–27	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			nice example of passing six-four over stationary bass
54		V6/5	Francis Johnson	Victoria Gallop	ca. 1839	mm. 3–4	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin		https://www.youtube.com/watch?v=nD7_y0ucv9U	excellent example: V65 as LN in m. 1, then V65-->V7 in m. 7
55		Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 8	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0
56		V4/3	Margaret Bonds	He's Got the Whole World in his Hand	1963	first page, second system; second page second system	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=tnumq5RkGY4	I6 - V43 - I with voice exchange; see also V-V42-I6 on first page, second system
57		V4/2	Margaret Bonds	He's Got the Whole World in his Hand	1963	first page, second system	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=tnumq5RkGY4	see also I6 - V43 - I with voice exchange
58		Combinations of V7 inversions	Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. i	1773	mm. 17ff	Afro-European, Caribbean heritage			https://www.youtube.com/watch?v=m_a0gpuy510	until the modulation this is an excellent analysis passage for inversions of V7 and I (lots of V65-I-V43-I6), plus IV; good for discussing pedal tones as well; recap adds V4/2, and entire development is full of inversions of V7 alternating with I
59		Joseph Boulogne	Symphony no. 1 in G Major, mvt. i	1779	mm. 50–53	Afro-European, Caribbean heritage	https://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=KGvYgTlsLes	nice teaching example: double neighbor progression in the antecedent, then the consequent adds lower strings to produce root position harmonies
60		Isaac Hazzard	Susana, from Terpsichore	1836	A section	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			almost all of the chords are inverted (likely that a bass instrument was also used?); opening period pairs an "inverted" version and a "root-position" version, so nice opportunity to compare the different effects of inversions; mostly I and V7 inversions so accessible early in the curriculum
61		Harry T. Burleigh	"Till I Wake" from Five Songs of Laurence Hope	1915	mm. 7–17	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=qVNmSQm3BGM	most of this song is far too difficult for beginning students, but the first phrase uses all three inversions of V7 in a clear arpeggiated texture and would be very accessible (a discussion topic could involve comparing the "vanilla" harmonization of this melody with the more complex/jazzier versions)
62		I–IV–I	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	m. 13	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
63		Francis Johnson	A Collection of New Cotillons, IV. Caroline	1818	mm. 13–16	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
64		R. Nathaniel Dett	The Deserted Cabin, from Magnolia Suite, no. 2	1912	mm. 1–2	African American, man	https://ks.imslp.info/files/imglnks/usimg/0/09/IMSLP202683-SIBLEY1802.20065.b102-39087012665628vol._1_score.pdf		https://www.youtube.com/watch?v=K-WBWWB8UkI	i-iv7-i, with interesting suspensions in returning i chord; leads straight to V64-53-i; interesting to compare with the second phrase, which starts out the same but then leads i-VI-ii-V	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/Dett-The-deserted-cabin-annotated.pdf
65		Predominant Harmony	ii(6) vs. IV	Scott Joplin	Augustan Club Waltz	1901	mm. 37–67	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	good opportunity to discuss why choose ii6 vs. IV (much of the piece uses root position IV-V-I progressions; this passage chooses ii6); discussion might explore the way ii6 (cm) prepares the iv in gm that comes later (m.73 and similar places), and even iiø6/5 in m. 102
66		II6(5)-V or V7	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	mm. 1–8	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
67		Francis Johnson	A Collection of New Cotillons, III. Augustus	1818	mm. 1–8	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
68		Francis Johnson	A Collection of New Cotillons, IV. Caroline	1818	mm. 9–12	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
69		II-V or V7	Eugène Dédé	Buenas Noches!	1893	mm. 47, 59-60, 63, 75-76	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
70		Florence Price	First Sonata for Organ, mvt. iii (Finale)	1927	mm. 106–109	African-American, Woman	http://www.worldcat.org/oclc/1099526351		https://youtu.be/ha0RIFZdxMg	block chord harmonies (in three staves) all accessible early in MT 1 (inversions of I, V, and V7, plus a single ii chord leading to IAC)	see annotated score at https://composersofcolor.hcommons.org/
71		Undine Smith Moore	Love Let the Wind Cry --- How I Adore Thee	1961	m. 36-end	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=jbhvq59P744
72		Tritone Substitution (for ii-V)	Betty Jackson King	In the Springtime	1976	m. 26	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM	clear example, with V in the parallel position in the second verse
73		Rising Bass Paradigm (IV6-V6-I) (see also PD seventh chords, below)	Isaac Hazzard	Washington, from Terpsichore	1836	C section (mm. 17–24)	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html
74		Expanding PD	II-II6
75		II6-II	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	m. 13–16	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
76		IV-II6
77		IV-II43	Eugène Dédé	Buenas Noches!	1893	mm. 86	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
78		IV-II
79		Predominant Seventh Chords	General or Mixed	Julia Perry	How Beautiful are the Feet	1954	throughout	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY	esp vi43 in m. 7, iiø43 in m. 18; see also iv9 in m. 23; parallel fifths in resolution from IV7–V
80		II6/5
81		II7
82		II4/3	Eugène Dédé	Buenas Noches!	1893	mm. 4-5, 80-81, 86-87, 107-108	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
83		II4/2-V6/5	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	mm. 5–9	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	nice embellished example of I-ii42-V65-I paradigm (gorgeous!); potential discussion questions: where is the line between the tonic pedal and the inverted ii7 chord?
84		IV7
85		IV6/5-V6/5
86		CAD 6/4	6/4-5/3	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	m. 12	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
87		Francis Johnson	A Collection of New Cotillons, III. Augustus	1818	mm. 13–16	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
88		Francis Johnson	A Collection of New Cotillons, IV. Caroline	1818	mm. 9–12	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
89		Chiquinha Gonzaga	Sospiro	ca. 1881	mm. 17–18	Brazilian, Woman	https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)		https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)	compare with unresolved V6/4 in m. 11; easy to hear but also tonicized, so a bit tricky to use early on
90		Joseph Boulogne, Chevalier de Saint Georges	Symphony no. 2 in D Major, Op. 11, mvt. iii (Presto)	1779	mm. 48–67	Afro-European, caribbean heritage	https://imslp.org/wiki/2_Symphonies%2C_Op.11_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=4pfSI-g6dcg&list=RD4pfSI-g6dcg&start_radio=1&t=13	nice parallel period with HC-PAC structure and cadential six-four in both spots; good teaching example
91		Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	mm. 43, 44, 53	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
92		8/6/4-7/5/3	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	mm. 65	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
93		Eugène Dédé	Buenas Noches!	1893	mm. 24-25, 41-42, 60-61, 76-77, 84-85	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Most of these actually have the voices meandering around so that they look more like 6 resolves to 7, or some chromatic descents
94		6/4-4/2 (evaded)	Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. ii	1773	mm. 1–8	Afro-European, Caribbean heritage				terrific teaching example; basic idea uses V6/4-V4/2-I6, then consequent closes with PAC via cadential six-four
95		Harry T. Burleigh	My Lord, What a Mornin'	1918	m. 10 (1st page, last system, 2nd m.)	African American man	https://imslp.org/wiki/My_Lord%2C_what_a_Mornin'_(Burleigh%2C_Harry_Thacker)		https://youtu.be/mJoDR704-BA ; Jessye Norman: https://www.youtube.com/watch?v=642dCC0nkRQ	Also a nice example of a period with expanded consequent as a result of this evaded cadence.
96		Embellished 6/4	Will Marion Cook	"Exhortation: A Negro Sermon" (from Three Negro Songs)	1912	mm. 34–end	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70	prolonged cadential six-four revisits several keys from the verse
97		Chiquinha Gonzaga	Fado das Tricanas de Coimbra	?? (Gonzaga's dates are 1847–1935)	mm. 15–17	Brazilian, Woman	https://imslp.org/wiki/Fado_das_tricanas_de_Coimbra_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=TmxS6YA0bMc	V6/4 - V65/V - V5/3 (cf. simpler examples elsewhere in the piece)	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Fado.pdf
98		Chiquinha Gonzaga	Grata Esperança	ca. 1886	mm. 37–40	Brazilian, Woman	https://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=SonEJhPIAqs	V6/4 - V43/V - V6/4 - V5/3 (see also more complicated example on p. 4: V6/4 - (I6 - IV6) - V5/3)	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Grata.pdf
99		Margaret Bonds	He's Got the Whole World in his Hand	1963	final cadence	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=tnumq5RkGY4	arrival of a cadential 6-4 at the beginning of the last system, then it's decorated by IV before resolving at the end of the bar
100		Undine Smith Moore	Watch and Pray	1972	mm. 64–67, 25–28	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=BKyL8xyYIYk	huge final cadential six-four (high C in soprano!) w/ iv9 LN before resolution to V9
101		Interrupted 6/4	Scott Joplin	The Cascades	1904	mm. 13, 17, 34	African American	https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	bottom of p. 3: Ger+6 -- V6/4 -- vii°6/V -- V7 -- I; bottom of p. 1: V6/4 - I6 - V/V - V7 - I
102			Mixed Uses of CAD 6/4	R. Nathaniel Dett	Cave of the Winds (March and Two-Step)	1902	throughout	Black Canadian-American	https://imslp.org/wiki/Cave_of_the_Winds_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=pIye0rJKO6U	a number of examples of Cad6/4 treatment that would be informative for students who always expect the Cad6/4 to resolve directly and simply to V (see mm. 31–32, 49–51, 65–67, 97–99)
103		Submediant (VI and IV6)	I-VI shuttles
104		I-VI-I6
105		I-IV6-I6
106		IV6-V	Chiquinha Gonzaga	Fado das Tricanas de Coimbra	?? (Gonzaga's dates are 1847–1935)	mm. 6–8 and throughout	Brazilian, Woman	https://imslp.org/wiki/Fado_das_tricanas_de_Coimbra_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=TmxS6YA0bMc	i-iv6-V-V42-i6 (nice for Theory 1--nearly the entire piece is accessible to first-semester students); iv6 is the preferred predominant throughout and resolves several ways; possibility for discussing voicing and "chord inversion" on guitar	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Fado.pdf
107		VI-V
108		VI6-V	Eugène Dédé	Buenas Noches!	1893	mm. 14	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Quick vi, could be thought of as a NHT
109		VI-V or V7	Eugène Dédé	Buenas Noches!	1893	mm. 51-53, mm. 67-69	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Includes secondary dominant embellishment: V65/vi - vi - V42/vi-vi6 - V7/V-V
110		VI-IV	R. Nathaniel Dett	Mammy (no. 4 from Magnolia Suite)	1912	mm. 1–4	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=rmmYKV4aO74&feature=youtu.be	I-vi-IV-I	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
111		VI-II6 or 6/5
112		VI-II or II7	Florence Price	Song to the Dark Virgin	1941	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	rich harmony with many chord extensions, so students will need to be guided through this piece, but the general progression is I-vi-ii-V-I; see also deceptive progression in m. 12
113		Undine Smith Moore	Come Down Angels	1978	m. 10	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	nice example because the submediant pulls us out of a tonic pedal; interesting to compare with m. 18 when the same melody is harmonized with V7/IV
114		Deceptive Progressions	Eugène Dédé	Buenas Noches!	1893	mm. 14-15	Creole, man	https://imslp.simssa.ca/files/imglnks/usimg/e/e9/IMSLP574888-PMLP925933-Buenas_noches_-marche_espagnole-_-...-De-de-.pdf
115		Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 16, 65	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0
116		Florence Price	Song to the Dark Virgin	1941	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	rich harmony with many chord extensions, so students will need to be guided through this piece, but the general progression is I-vi-ii-V-I; see also deceptive progression in m. 12
117		Undine Smith Moore	Come Down Angels	1978	m. 25, see also m. 4, 21	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	alternative to V-vi deceptive progression; these examples are V-IV; IV is thematized throughout the setting
118		Phrygian Cadences	Vincente Lusitano	Heu me domine	1551	mm. 33–34	Portuguese, of African descent, man	https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf		https://www.youtube.com/watch?v=Q5ApDUYxRGc
119		Ignatius Sancho	Minuet no. 11 from Minuets for the Violin, Mandolin, German Flute, and Harpsichord	ca. 1779	mm. 3–4	Afro-European, man	http://ks4.imslp.net/files/imglnks/usimg/9/9e/IMSLP313571-PMLP506290-SANCHO_Dances_KBD_Horns_fl_vn_vc.pdf		historically-informed performers of some of Sancho's minuets: https://www.youtube.com/watch?v=ICiQF8YZmSg&app=desktop
120		Mixed Uses of VI	Eugene Dédé	Chiffonette	1896	Trio	Creole	https://imslp.org/wiki/Chiffonnette%2C_Op.236_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
121		Leading Tone Sevenths	viiø7 (in major)	Undine Smith Moore	Come Down Angels	1978	m. 7	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	over a tonic pedal, but the melody clearly arpeggiates it; several of Moore's major-key pieces use this harmony
122		VII7	Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	m. 14	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
123		VII6/5
124		VII4/3	Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	m. 7	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=tCqID54E-AE	in major; IV - vii°43 - I6; see parallel spot in the minor second verse
125		VII4/2-CAD 6/4	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	m. 13	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	several interesting uses of cadential 6/4 throughout, then m. 65: post-cadential pedal 6/4 with modal mixture, followed by arpeggiated 6/4 (m. 67)
126		Mixed Uses of VII7	Joseph Boulogne	String Quartet in G Minor, Op. 1 no. 5	1773	mm. 47–53, 60–69	Afro-European, Caribbean heritage			https://youtu.be/LyzL1cjXkyw	Development uses lots of different inversions of vii°7 in several keys
127		Expanding VII7	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 45	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	vii°7 expanded with P6/4
128		Mediant, Subtonic	I-III Shuttles
129		III subs for I6	Harry T. Burleigh	"The Jungle Flower"	1915	mm 7–8, 14–15	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	Also includes some terrific chromatic harmony in the B section, and would be a good sight singing challenge for second-year students
130		Julia Perry	How Beautiful are the Feet	1954	m. 43	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY
131		I-III-IV
132		i-III-V (minor)	Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	mm. 1–12	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	https://www.youtube.com/watch?v=tCqID54E-AE	large i-III-V passage is an introduction to the larger song, thematizes ^5 pedal in the piano and voice; see also tonicization of III in m. 16
133		General Uses of iii in Major	Eugène Dédé	Buenas Noches!	1893	mm. 21	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Used to modulate (pivot?)
134		Undine Smith Moore	Watch and Pray	1972	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=BKyL8xyYIYk	terrific teaching example for iii in major: I-iii-V (mm. 12–14), I-iii-vi-ii ... (several places throughout); the submediant is built into the melodic structure of spirituals but also used to express the dark, poignant text
135		Betty Jackson King	In the Springtime	1976	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM
136		Undine Smith Moore	Is There Anybody Here that Loves my Jesus	1981	m. 7, 29	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=X8yRzsFfvM4	mediant seems to be a feature of many spirituals that open with melodic repetition (see also Undine Smith Moore, Watch and Pray); also don't miss the great callback to iii in m. 33 (final cadence)
137		Tonicizing III (minor)	Duke Jordan	Jordu	1953	A section	African-American	non-PD (but in most Real Books)		https://www.youtube.com/watch?v=GslhRUBgXNI	also a good example of descending fifths sequences; pairs well with Chopin Mazurka Op. 67, no. 2
138		Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	m. 16	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	https://www.youtube.com/watch?v=tCqID54E-AE	this whole song teaches beautifully; you could easily spend a whole class on the tension between fm and Ab major; see also i-III-V paradigm in mm. 1–12
139		R. Nathaniel Dett	The Deserted Cabin, from Magnolia Suite, no. 2	1912	mm. 9–10	African American, man	https://ks.imslp.info/files/imglnks/usimg/0/09/IMSLP202683-SIBLEY1802.20065.b102-39087012665628vol._1_score.pdf		https://www.youtube.com/watch?v=K-WBWWB8UkI	tricky but beautiful example; very audible but some analytical challenges	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/Dett-The-deserted-cabin-annotated.pdf
140		Harry Burleigh	"The Jungle Flower" (from Five Songs of Laurence Hope, no. 2)	1915	mm 7–8, 14–15	African-American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	Also plays with the tonicizing III paradigm later in the piece (replacing III with V7/VI, HCs on V/III, etc.)
141		Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	mm. 11–12	African American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	basic idea of opening period is harmonized i-v7-i in antecedent, i-V6/III-III in consequent
142		Modulating to III (minor)	Eugène Dédé	Buenas Noches!	1893	Minuet (around mm. 20), and Trio (mm. 78)	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Minuet modulates from F to A minor (pivot); Trio modulates from Bb to d minor (direct)
143		Samuel Coleridge-Taylor	Suite for Violin and Piano, Op. 3, mvt. iii ("Contemplation")	1893?	mm. 1–16	Afro-European	https://imslp.org/wiki/Suite_for_Violin_and_Piano,_Op.3_(Coleridge-Taylor,_Samuel)		https://youtu.be/iz3xelHih74?t=290	Lovely mix of tonicizations of III and modulation to III, including melody sequenced by third
144		VII-V6/5 (minor)
145	Linear Intervallic Progressions	Linear Intervallic Progressions	Parallel 10ths	Edmond Dédé	Méphisto Masqué	186(?)	p. 4 (of keyboard version)	Creole	https://imslp.org/wiki/M%C3%A9phisto_masqu%C3%A9_(D%C3%A9d%C3%A9%2C_Edmond)		https://www.youtube.com/watch?v=hYdxoKck6_U	note, there is an orchestral version and a piano arrangement
146	6/3 Chords	Joseph Boulogne	String Quartet Op. 1, no. 3, mvt. i	1773	mm. 46ff.	Afro-European, Caribbean heritage	Parts only	engraving in progress?	https://www.youtube.com/watch?v=AB-qTEGRHmE	fauxbourdon?
147	Julia Perry	How Beautiful are the Feet	1954	mm. 61–63	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY
148	6/4 Chords	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	throughout	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	several interesting uses of cadential 6/4 throughout, then m. 65: post-cadential pedal 6/4 with modal mixture, followed by arpeggiated 6/4 (m. 67)
149	Will Marion Cook	Cruel Papa	1914	m. 9	African American, man	https://imslp.org/wiki/Cruel_Papa!_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=3bKVijr3S-I	pedal 6/4 with modal mixture
150	Descending 5th	Samuel Coleridge-Taylor	Ballade in A minor	1898	begins page 6, system 2, m.5	African-American	https://imslp.org/wiki/Special:IMSLPImageHandler/74742%2Fhfzv		https://www.youtube.com/watch?v=lG2OyyFPkbc
151	Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	mm. 21–25	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	Recording Needed	descending-fifths imaginary continuo with non-chord-tones are auxiliary to omitted chord tones. The passage is a descending-fifth sequence alternating 5/3 with 9/7 suspensions, if one hears the initial Ab6/3 as a substitute for F-minor.
152	Will Marion Cook	Cruel Papa	1914	mm. 21–25; mm. 29ff., mm. 37ff.	African American, man	https://imslp.org/wiki/Cruel_Papa!_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=3bKVijr3S-I	with chordal sevenths (m. 29 and 37 are repeats of m. 21)
153	Florence Price	First Sonata for Organ, mvt. iii (Finale)	1927	mm. 8–12	African-American, Woman	http://www.worldcat.org/oclc/1099526351		https://youtu.be/ha0RIFZdxMg	tonic-prolongational descending-fifths sequence	see annotated score at https://composersofcolor.hcommons.org/
154	Duke Jordan	Jordu	1953	B section	African-American	non-PD (but in most Real Books)		https://www.youtube.com/watch?v=GslhRUBgXNI	also a good example of relationship between minor tonic and mediant; pairs well with Chopin Mazurka Op. 67, no. 2
155	Ascending 5th	Lin-Manuel Miranda	Farmer Refuted (from Hamilton)	2015	0:01–0:30	Puerto Rican American	non-PD		https://www.youtube.com/watch?v=-oOVtu6sCdo	uses harpsichord timbre and ascending fifths sequence to portray conservatism of Royalist position
156	Descending 3rd (Descending 5–6)	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	mm. 49–50	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	chromaticized descending 5–6 (w/ a mix of applied V7 and viiø7)
157	Samuel Coleridge-Taylor	"Unmindful of the Roses" from Six Sorrow Songs, Op. 57, no. 3	1906	mm. 3–6	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=vI82Am_UH7o	opening moves from i-->III via descending 5-6 sequence
158	Florence Price	My Dream	1935	mm. 23–26	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=lLbhy03VgXE	chromaticized descending 5–6 that derails and goes to an interesting chromatic place: DM - vii°7/bm - bm - V7/GM - GM - V7/em - AbM (!!)
159	Ascending 5–6	Harry Burleigh	"The Jungle Flower" (from Five Songs of Laurence Hope, no. 2)	1915	mm. 36–40	African-American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	chromaticized ascending 5-6 sequence, two full iterations plus half of a third
160	Betty Jackson King	In the Springtime	1976	mm. 18–21	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM	ii-V, iii-vi
161	Eugène Dédé	Douleur et Gaîté	1886	mm. 102–108	Creole	https://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			chromaticized ascending 5–6 sequence; see also chromatic descent/ascent in Trio mm. 58–60/70–71
162	Ascending 3rd	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	mm. 23–24	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	+4/-2 sequence
163	Schemata	Fonte	Scott Joplin	Combination March	1896	mm. 21–28	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	transitional passage with V/vi - vi - V/V - V
164	Monte
165	Ponte
166	Miscellaneous	Melodic Construction	Melodic Sequence	Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	mm. 119–122 --> mm. 123–126	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)
167	Joseph Boulogne	String Quartet Op. 1 no. 4, mvt. i	1773	mm. 59–62	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=2nYDZ39qo7U	fragmentation, liquidation follows in m. 65
168	Bass Construction	Descending Bass Line	Florence Price	Ticklin' Toes	1933	throughout	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA	clear descending mostly diatonc bass line, clear and exposed in the bass clef (descent also varies each phrase); would be good bass line dictation for aural skills as well
169	Florence Price	Sonata in E Minor, mvt. i	1932	mm. 33–39	African-American, Woman	non PD: http://www.worldcat.org/oclc/936579050		https://youtu.be/6dRAYQOD-TQ
170	Harry T. Burleigh	"Till I Wake" from Five Songs of Laurence Hope	1915	throughout	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=qVNmSQm3BGM	this song thematizes different ways of dealing with descending chromatic bass lines; lots of rich, complex examples
171	Will Marion Cook	Swing Along! (from Three Negro Songs)	1912	mm. 1–4, 17–20, 37–40	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70	several descending chromatic and diatonic bass lines, different harmonizations each time with rich textual implications
172	Chiquinha Gonzaga	Grata Esperança	ca. 1886	p. 3 (Bb Major section)	Brazilian, Woman	https://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=SonEJhPIAqs	interesting chromatic descending bass line, in dialogue with thematized 6-b6-5 throughout the piece: I-V42/IV - IV6 - iv6 - cad64 - V65/V - V42 - I(6)	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Grata.pdf
173	Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	throughout	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			chromatic bass line; Leads towards cadence that begins movement just like the first song in the set. Unlike the first movement, this bass line leads to iv within plagal cadences instead of V of a HC. Becomes a bit of a motive throughout the A section; Chromatic voice-leading descents permeate the accompaniment of this piece, as it did in the first one.
174	Scott Joplin	Combination March	1896	mm. 1–4	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	descending chromatic bass used several times; see also mm. 41–44, 58–60, 77–80
175	Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	throughout	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	several passages with descending chromatic bass lines, including the opening; many different solutions, often thematizing or playing with Ger6/5; in general suitable for extended analysis for advanced chromatic harmony students (e.g. sophomores)
176	General Topics	Straightforward Diatonic Passages for General Analysis	Isaac Hazzard	Henrietta, from Terpsichore	1836	entire piece	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			mostly tonic and dominant throughout, but interesting metric placement of harmonies and prolongation: could discuss how A section places tonic chords on strong beats; B section places dominant chords on strong beats; same harmonies used in both sections but with different effects
177	Samuel Coleridge-Taylor	Violin Sonata, Op. 28, mvt. i	?1898	mm. 85–117	Afro-European	https://imslp.org/wiki/Violin_Sonata,_Op.28_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=8fa-U_kPJiI	clear texture for RN analysis or even pop chord symbols; includes descending tetrachord, passing 6/4, modulation to iii, circle of fifths progression w/ dominant 7ths, etc.
178	Joseph Boulogne	String Quartet Op. 1 no. 4, mvt. i	first theme	entire movement	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=2nYDZ39qo7U	opening period is very clear texture, easy for students to perform RN analysis throughout; very basic i-iv-V harmonies
179	Florence Price	Ticklin' Toes	1933	throughout	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA	clear descending mostly diatonc bass line, clear and exposed in the bass clef (descent also varies each phrase); would be good bass line dictation for aural skills as well
180	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	entire piece	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	slow harmonic rhythm makes it relatively easy for students to follow the harmony
181	Reharmonization	Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	entire song	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=vj7vR1Tt1Zo	strophic, with new key for each verse (FM - fm - AbM - FM)
182	Will Marion Cook	Swing Along! (from Three Negro Songs)	1912	mm. 1–4, 17–20, 37–40	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70	several descending chromatic and diatonic bass lines, different harmonizations each time with rich textual implications
183	Margaret Bonds	He's Got the Whole World in his Hand	1963	first page, second system	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=tnumq5RkGY4	"Whole world in his hand" -- hand is harmonized in three different ways; good example for teaching how to harmonize a melody in general; for cadences it's useful to teach students not to look only at the piano part (vocal part plays an important role, including register)
184	Modal Mixture	Modal Mixture	Pitches	Undine Smith Moore	Watch and Pray	1972	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=BKyL8xyYIYk	intersection between mixture pitches and blue notes throughout; rich poetic resonances
185	Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	mm. 49–51	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			pairing of pedal six-four in major and minor versions; mixture is tonicized over a D pedal in m. 50; very clear example for introducing modal mixture
186	Picardy Third	Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	final cadence	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)
187	Eugene Dédé	Douleur et Gaîté	1886	final cadence	Creole	https://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
188	Simple Mixture	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	mm. 28, 46, 52, 65	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	iiø4/3, iiø6/5, iv, pedal 6/4 with modal mixture
189	Eugene Dédé	Marquise Pompadour	1886	m. 6	Creole	https://imslp.org/wiki/Marquise_Pompadour_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			iiø6/5, contrasts to diatonic ii6/5 in m. 2; see also how the coda revisits this passage: mm. 7–8 replace the iiø6/5 with a humorous marcatto interpolation of the diatonic ii6/5; the Ab of the borrowed ii6/5 now relegated to grace-note status as G#; subsequent iv-I mixture as plagal afterthought after the PAC in the penultimate system
190	Chiquinha Gonzaga	Grata Esperança	ca. 1886	throughout	Brazilian, Woman	https://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=SonEJhPIAqs	several different uses of 6-b6-5 -- e.g. m. 16 as ornaments, m. 32 in melody, mm. 35–37 in bass (IV6-iv6-V6/4); plus more in later sections	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Grata.pdf
191	Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	m. 98, mm. 177–181a	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	iiø4/2 in m. 98; more extended modal mixture in 177–181a, including i and bVI; see also mm. 195–198 (passage in minor including N6)
192	Eugène Dédé	Buenas Noches!	1893	mm. 3-4	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			minor and hdim ii in major. Repeats at coda
193	Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	entire song	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=vj7vR1Tt1Zo	strophic, with second verse in the parallel minor (change of key signature) (first verse is FM, second verse is fm, and third verse is AbM, fourth verse FM)
194	Samuel Coleridge-Taylor	"She Sat and Sang Alway" from Six Sorrow Songs, Op. 57, no. 4	1906	throughout	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=SjvmU-joA4I	second verse in the parallel minor
195	Harry T. Burleigh	A New Hidin' Place, From the Southland	1910	m. 8	African American, man	http://ks4.imslp.net/files/imglnks/usimg/b/bf/IMSLP273517-PMLP443541-BURLEIGH_H_Southland_Sketches_for_Piano.pdf		https://youtu.be/Df0Nlwc1pwY	Fairly straight forward use of minor iv.
196	Julia Perry	How Beautiful are the Feet	1954	mm. 13–32, 53–56	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY	diatonic melody in CM followed by clear, accessible mixture in the B section; would be a great example for an aural skills class
197	Margaret Bonds	Dream Variation (from Three Dream Portraits, no. 2)	1959	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=vqp8_uLyieA	mixture throughout, and it's visually very apparent (key is C# major); possible play with the idea of blackness/black keys; several mixture sonorities are thematized throughout
198	Undine Smith Moore	Love Let the Wind Cry --- How I Adore Thee	1961	m. 6, m. 16, m. 20	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=jbhvq59P744	very clear bVI chord in m. 6, setting the text "great voice of thunderous legions"; interesting to discuss how texture and mixture work together here (trilling low voice sixteenths); return of mixture for "gray mist of primal chaos", again in dialogue with the rolling sixteenths
199	Mixed Uses of Mixture	Harry Burleigh	Kashmiri Song (from Five Songs of Laurence Hope)	1915	throughout	African American, man	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=j6hGGJA-l4c	minor tonic, but big emphasis on major I (mm. 20ff.); apparent cadence on IV in mm. 62–63; central section (mm. 31ff.) starts in EbM (enharmonically D#M, III); within BM section (mm. 20ff.) lowered ^6
200	Plagal Progressions	Scott Joplin	Augustan Club Waltz	1901	mm. 101–end; throughout	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	balance of authentic and plagal motion throughout (opportunity to draw a parallel with masculine/feminine character of a dance (waltz)?); curiously thematized in the final section (mm. 101ff.; last page of the PDF), where the progression is IV-iiø6/5-I (note also arrival on melodic ^5 for the I chord here); see also retrogression from HC to IV (mm. 116–117); compare with final cadence, where we get a strong PAC in a high register followed by a descent to a pedal 6/4 with mixture
201	Samuel Coleridge-Taylor	"When I am dead, my dearest" (from Six Sorrow Songs), Op. 57, no. 2	1906	mm. 1–5	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/user/27638568/scores/6189644	https://www.youtube.com/watch?v=jsOycArSa1E	Opens with I-iv-I progression (embellished w/ P6/4); several other examples of plagal motion throughout and lots of rich chromatic harmony (mixture, applied doms, aug triads, etc.)
202	Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	mm. 21–28	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	Recording Needed	Plagal cadence, avoidance of authentic cadence at end of each strophe: mm. 21–28. Gives modal flavor to mm. 25–28.	Cf. Deborah Stein’s article “The Expansion of the Subdominant in the Late Nineteenth Century”
203	Chromatic Mediants	Scott Joplin	A Breeze from Alabama	1902	C Section	African-American	https://imslp.org/wiki/A_Breeze_from_Alabama_(Joplin%2C_Scott)		piano roll recording: https://www.youtube.com/watch?v=I5SNXkRmez8	B section is in CM; CT modulation to AbM for C section, then to EM, then back to AbM, then to FM	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/A-Breeze-from-Alabama%E2%80%94Joplin-1.pdf
204	Florence Price	"Night"	1946	throughout	African-American, Woman	non-PD: http://www.worldcat.org/oclc/1027679735		https://www.youtube.com/watch?v=ik9pq_BOBlA	harmonically rich and complex (opening: CM-AbM-d°6/5-CbM); great singing example for chromatic melodies in aural skills; suitable for dictation
205	Samuel Coleridge-Taylor	"Lament," Op. 9, no. 1	1896	mm. 42–50	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=EG0na00xaTI	EM-CM (mm. 42–3), EbM-GbM (mm. 44–45), DbM-AM (mm. 48–49)
206	Secondary Mixture
207	Applied Dominants	Tonicizing V	V/V	Francis Johnson	A Collection of New Cotillons, I. The Cymbals	1818	mm. 1–4, 17–24	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
208		Francis Johnson	A Collection of New Cotillons, II. Maria Caroline	1818	mm. 9–12	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
209		Isaac Hazzard	Washington, from Terpsichore	1836	m. 35	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			clear teaching example of V/V
210		Isaac Hazzard	Henrietta, from Terpsichore	1836	B section	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			ambiguous whether this is in tonic with applied dominants or in the dominant (good discussion topic); V42/V and V65/V; interesting for conversation about the different syntactical responsibilities of these two sonorities (the V65/V is used at a cadence)
211		Eugène Dédé	Buenas Noches!	1893	mm. 7, 52, 84	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Mm. 84 contains V64-7/V
212		Bob Cole	Everybody Wants to See the Baby	1903	mm. 6, 11, 13, 23	African American	https://imslp.org/wiki/Everybody_Wants_To_See_the_Baby_(Cole%2C_Bob)			also vii°7/V in mm. 1, 33; tonicization of vi in m. 29
213		Florence Price	"Ticklin' Toes"	1933	mm. 40	African-American, Woman	https://imslp.org/wiki/Ticklin%27_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=4umuB_bclWo
214		R. Nathaniel Dett	Mammy (no. 4 from Magnolia Suite)	1912	mm. 7, 13, 15	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=rmmYKV4aO74&feature=youtu.be	opening compound period uses V7/V for tonicized HC (m. 7), then it returns in consequent as a PD for the PAC and as V6/5 of V	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
215		vii°7/V	Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. i	1773	mm. 135–136	Afro-European, Caribbean heritage			https://www.youtube.com/watch?v=m_a0gpuy510
216		Francis Johnson	A Collection of New Cotillons, I. The Cymbals	1818	17–24	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)		also V/V in mm. 1–4
217		Edmond Dédé	Mirliton Fin de Siècle	no date (Dede's dates are 1827–1901)	mm. 48–49	Creole	https://imslp.org/wiki/Mirliton_fin_de_si%C3%A8cle_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=KTAlBmnIvNU	CT°7 respelled as vii°7/V
218		Aaron Connor (Conner) (d. 1850)	Valse a cinq temps	1847	mm. 7–8, 23–24; B section mm. 15–16	African-American, man	available for purchase here: http://www.amaranthpublishing.com/AfricanAmericanComposers.html			several examples of vii°7/V resolving to cadential six-four
219		Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	mm. 4–7, mm. 12–15	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	vii°7/V in mm. 4–7, plus another in 12–15 that is prolonged by an A6 and passing 6/4; see also CT°7 in m. 50a (first ending)
220		Eugène Dédé	Buenas Noches!	1893	mm. 38	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			vii°6/V - vi6
221		Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 19, 34	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0
222		Scott Joplin	The Sacred Tree, from Treemonisha	1910	throughout	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	on pp. 2–3, and you'll find a secondary leading tone chord, another secondary leading-tone chord that functions as a passing chord with a harmonic elision, and a CT°7 chord	see annotated score at https://composersofcolor.hcommons.org/
223		Will Marion Cook	"Exhortation: A Negro Sermon" (from Three Negro Songs)	1912	mm. 10, 33	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70	resolves to cadential six-four; °7 chord is also text painting "Satan"/"Amen" (narrative about redemption?)
224		V of other harmonies	V/ii	Eugène Dédé	Buenas Noches!	1893	m. 59	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			V65/ii - ii, cf. vii7/ii in m. 46
225		VII/ii	Eugène Dédé	Buenas Noches!	1893	m. 46	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			M. 46 - enharmonically spelled (G# instead of Ab)
226		V/iii
227		V/IV	Queen Liliʻuokalani or Lili'uokalani	Aloha 'Oe	1878					https://www.youtube.com/watch?v=Y1bIxMYPlas&t=62s
228		Eugène Dédé	Buenas Noches!	1893		Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
229		Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	mm. 80–81	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)			I-V42/IV-IV6
230		Margaret Bonds	He's Got the Whole World in his Hand	1963	first page, third system	African American, woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=tnumq5RkGY4
231		Betty Jackson King	In the Springtime	1976	m. 6	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM
232		Undine Smith Moore	Come Down Angels	1978	m. 18, 35, 45	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	both V7/IV and V4/2 / IV6; nice to compare with m. 10 where the same passage is harmonized as vi-ii
233		V/vi (major keys)	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	mm. 3–4	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0
234		Harry T. Burleigh	A New Hidin' Place, From the Southland	1910	m. 8	African American, man	http://ks4.imslp.net/files/imglnks/usimg/b/bf/IMSLP273517-PMLP443541-BURLEIGH_H_Southland_Sketches_for_Piano.pdf		https://youtu.be/Df0Nlwc1pwY?t=1620
235		V/VI (minor keys)	Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	m. 24	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	Recording Needed	cf. tonicization of III in m. 16
236		Mixed Uses of Applied Dominants	José Maurîcio Nunes Garcia	Beijo a mão que me condena (M 226)	n.d. (Garcia's dates are 1767–1830)	entire song	Brazilian	https://imslp.org/wiki/Beijo_a_m%C3%A3o_que_me_condena%2C_M_226_(Garcia%2C_Jos%C3%A9_Maur%C3%ADcio_Nunes)		https://www.youtube.com/watch?v=SN4ANLQt22I	good practice for applied dominants more generally; vii°7/vi, vii°7/ii, V7/vi, V65/V
237		Eugène Dédé	Douleur et Gaîté	1886	throughout	Creole	https://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			V65/vi in m. 39; vii°7/ii in m. 84
238		Eugène Dédé	Buenas Noches!	1893	throughout	Creole	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			many applied dominants, including V/IV, V/vi, V/ii
239		Gussie Davis	"In the Baggage Coach Ahead"	1896	throughout	African-American, man	https://imslp.org/wiki/In_the_Baggage_Coach_Ahead_(Davis%2C_Gussie)		https://www.youtube.com/watch?v=FHBqcJy2m2c	several applied dominants: V/ii, V/iii, V/V, V/vi
240		Scott Joplin	Augustan Club Waltz	1901	mm. 25–35	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	clear examples of V7/ii, vii°7/V (to cadential six-four), V7/V; see also V/iii (mm. 49–52), vii°65/V (mm. 62–64), V7/V (mm. 65–66)
241		R. Nathaniel Dett	Cave of the Winds (March and Two-Step)	1902	mm. 69ff.	Black Canadian-American	https://imslp.org/wiki/Cave_of_the_Winds_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=pIye0rJKO6U	highly chromatic section, incorporating viiº7 and V7 tonicizations of Am and GM, a Ger+6 (resolving directly to V7, parallel 5ths and all), and Gerº3, and a ctº7
242		Scott Joplin	The Cascades	1904	throughout	African American	https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	used throughout
243		Scott Joplin	Antoinette	1906	throughout	African American	https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf		https://www.youtube.com/watch?v=-XBAgZzYURY	lots of secondary dominants and leading tone chords; vii°7/V is misspelled with raised ^2 rather than low ^3 (cf. German sixths spelled with raised ^2 rather than low ^3)
244		Florence Price	First Sonata for Organ, mvt. iii (Finale)	1927	mm. 106–122	African-American, Woman	http://www.worldcat.org/oclc/1099526351		https://youtu.be/ha0RIFZdxMg	chorale texture passage, including V/V, vii°7/vi, V43/IV, V7/vi; plus some interesting voice leading chords	see annotated score at https://composersofcolor.hcommons.org/
245		More Advanced Uses	Chain of Secondary Dominants	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	mm. 10–15, mm. 25–30, mm. 44–47	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	see also many other applied dominants, especailly mm. 5–6 where V7/V is followed by a chromatic chord
246		Chiquinha Gonzaga	Sospiro	ca. 1881	BbM section (p. 3)	Brazilian, Woman	https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)		https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)	two cycles through chain of descending fifths (BbM - G7 - C7 - F7 - Bb)
247		Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	mm. 111–115	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	vii°7/V in mm. 4–7, plus another in 12–15 that is prolonged by an A6 and passing 6/4; see also CT°7 in m. 50a (first ending)
248		Samuel Coleridge-Taylor	"Lament," Op. 9, no. 1	1896	m. 26, mm. 33–34	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)
249		Florence Price	Piano Sonata in E minor, mvt. 2	1932	mm. 8–10, mm. 46–48; mm. 88–90	African-American, Woman	Not PD http://www.worldcat.org/oclc/936579050		https://www.youtube.com/watch?v=1zAsAUXRAiw	includes tritone substitution (Bb7 subs for E7 - A7 - D7 - G7 - C); in mm. 46–48 used as part of a modulation (C = I in the old key, VI in the new key); when this material returns in mm. 88–90 it goes an extra step and lands on F (IV in local CM tonality)
250		Charlie Parker	"Anthropology"	1945	B section	Afircan American, man	Available in Real and Fake Books (google search will also turn up results)		https://www.youtube.com/watch?v=AMuItUv9xZc
251		More Advanced Uses	Tom Wiggins ("Blind Tom")	Water in the Moonlight	1866	throughout	African American, blind and now thought to be autistic	https://imslp.org/wiki/Water_in_the_Moonlight_(Wiggins%2C_Thomas_%22Blind_Tom%22)		https://www.youtube.com/watch?v=t4ZmwXd_dJg&feature=youtu.be	mm. 5–6, 39–40, m. 45 V7/V --> chromatic chord --> V; mm. 10–15, 25–30, 44–47 chain of applied dominants; m. 13 cadential 6/4 preceded by vii°7/V, mm. 50 and 54 V7/IV
252	Extended Tonicization and Modulation	Extended Tonicizations	of V	Ignatius Sancho	Minuet no. 11 from Minuets for the Violin, Mandolin, German Flute, and Harpsichord	ca. 1779	mm. 3–4	Afro-European, man	http://ks4.imslp.net/files/imglnks/usimg/9/9e/IMSLP313571-PMLP506290-SANCHO_Dances_KBD_Horns_fl_vn_vc.pdf			Frequently in A sections of binary forms
253	of other harmonies	Will Marion Cook	"Exhortation" (from Three Negro Songs, no. 2)	1912	mm. 1–15; throughout	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=kXD-YcfQI70	a great advanced study of extended tonicization/diatonic modulation; the song opens with a recitative that moves through several key areas (dm --> FM --> cm --> gm --> BbM) with rich text painting and lots of opportunity for class discussion; the following refrain is similarly harmonically mobile (you could work on the recit in class and assign the refrain for homework); class discussion might explore role of °7 in text painting (satan in m. 10, redemption for "Amen" in m. 33)
254	Diatonic Modulation	to V	Chiquinha Gonzaga	Grata Esperança	ca. 1886	mm. 10–25	Brazilian, Woman	https://imslp.org/wiki/Grata_esperan%C3%A7a_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=SonEJhPIAqs	modulation (or extended tonicization) to V including V/V in the new key	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2020/10/Gonzaga-Grata.pdf
255	Scott Joplin	Combination March	1896	mm. 49–64	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	actually a modulation from IV (Eb) back to I (Bb) (and compare with the modulation to Eb that precedes this phrase); modulation transforms I --> IV, iv6 (via mixture) V64-53 - I; interesting to have a conversation about the global function of these two key areas in this march (starts in Bb, ends in Eb; cadence to Bb in m. 64 prepares/predicts final cadence to Eb at the end of the piece, in m. 80)
256	Bob Cole	Everybody Wants to See the Baby	1903	m. 21	African American	https://imslp.org/wiki/Everybody_Wants_To_See_the_Baby_(Cole%2C_Bob)
257	to ii
258	to iii (major keys)	Edmond Dédé	Mirliton Fin de Siècle	no date (Dede's dates are 1827–1901)	mm. 22–25	Creole	https://imslp.org/wiki/Mirliton_fin_de_si%C3%A8cle_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=KTAlBmnIvNU	DM --> f#m
259	Eugène Dédé	Chiffonette	1896	Trio	Creole	https://imslp.org/wiki/Chiffonnette%2C_Op.236_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			great example: modulates to iii via prolonged passing six-four --> German 6th in iii --> cadence
260	Samuel Coleridge-Taylor	"When I am dead, my dearest" (from Six Sorrow Songs), Op. 57, no. 2	1906	mm. 5–18	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/user/27638568/scores/6189644	https://www.youtube.com/watch?v=jsOycArSa1E	opening phrase (sentence; first half of a compound period) modulates to iii; sequential modulation back to tonic in the consequent phrase
261	to III (minor keys)	Scott Joplin	The Sacred Tree, from Treemonisha	1910	p. 2	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	pivot chord modulation vii°7/iv -- iv = ii	see annotated score at https://composersofcolor.hcommons.org/
262	Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	B section (from "You should have wept")	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	G minor Aeolian melody modulates to Bb Major, clear example
263	to IV	Will Marion Cook	Swing Along! (from Three Negro Songs)	1912	mm. 1–4, 17–20, 37–40	African American	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://youtu.be/kXD-YcfQI70	Transition to B section goes to from F to Bb.
264	to vi
265	to VII
266	Chromatic PD Chords	Augmented SIxth Chords	Augmented Sixths (General/Mixed)	Scott Joplin	The Cascades	1904	mm. 13, 17, 34; top of p. 4		https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	example in m. 34 is Ger spelled enharmonically (doubly augmented) -- #2 resolves up to 3 in cadential six-four; on the top of p. 4 Fr+6 used to modulate
267		Italian +6	Joseph Boulogne	String Quartet Op. 1, no. 3, mvt. i	1773	m. 6	Afro-European, Caribbean heritage	Parts only	engraving in progress?	https://www.youtube.com/watch?v=AB-qTEGRHmE	some weird doubling leads to unusual voice leading (tritone leap) in the viola
268		French +43	Gussie Davis	"In the Baggage Coach Ahead"	1896	m. 36; also final cadence of verse	African-American, man	https://imslp.org/wiki/In_the_Baggage_Coach_Ahead_(Davis%2C_Gussie)		https://www.youtube.com/watch?v=FHBqcJy2m2c	m. 36 example is embellishing cadential six-four
269		Scott Joplin	The Sacred Tree, from Treemonisha	1910	m. 3	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	marked/prominent in the introduction	see annotated score at https://composersofcolor.hcommons.org/
270		Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	mm. 8, 12, 42–44; throughout	African American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	extended tertian harmonies involved in several chromaticized voice exchanges; Fr+43 repeatedly signals arrival at cadence; CT Fr6 in mm. 42–44; Fr6 treated as subset of WT collection
271		Florence Price	Piano Sonata in E minor, mvt. 2	1932	mm. 19	African-American, Woman	Not PD http://www.worldcat.org/oclc/936579050		https://www.youtube.com/watch?v=1zAsAUXRAiw	Elaborates a cadential six-four. Leads to a cadence that ends the refrain of a rondo form; note that la-sol vs. le-sol is thematized throughout, so this is a great example for discussion/close reading
272		German +65	Scott Joplin	Combination March	1896	mm. 2, 77	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	both Ger+6 misspelled with #2 (resolves to ^3); m. 2 is part of descending chromatic bass line in introduction; m. 77 is preparing the final cadence; both are clear to hear and lead to cadential 6/4
273		Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 83	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	great to have students study the whole phrase strating at m. 77 (rehearsal 5); the German 6th chord is very hearable and resolves in a fun way -- cadence is evaded with V7/IV, and then a simple ii-V-I; possible discussion topic is comparing ^b6 in the bass in m. 83 with m. 79
274		Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	m. 20	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=vj7vR1Tt1Zo	German sixth resolves to V7; this is a parallel minor version of the verse so interesting to compare to the major version (m. 9), where instead of Ger+65 it's V43/V; see also iiø4/3 in final cadence
275		Scott Joplin	Augustan Club Waltz	1901	mm. 82–84	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	good for dicussing relationship of Ger and Fr 6
276		R. Nathaniel Dett	Cave of the Winds (March and Two-Step)	1902	mm. 69ff.	Black Canadian-American	https://imslp.org/wiki/Cave_of_the_Winds_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=pIye0rJKO6U	highly chromatic section, incorporating viiº7 and V7 tonicizations of Am and GM, a Ger+6 (resolving directly to V7, parallel 5ths and all), and Gerº3, and a ctº7
277		Bob Cole	Everybody Wants to See the Baby	1903	m. 21	African American	https://imslp.org/wiki/Everybody_Wants_To_See_the_Baby_(Cole%2C_Bob)			German +6 used to modulate back to the original key
278		Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	throughout	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	Many instances of Ger+6 spellings/sonorities - do they all function as augmented sixths? How do they resolve? (examples include: m. 15, m. 20) In several cases they orient us to key in otherwise ambiguous spots
279		Scott Joplin	Antoinette	1906	mm. 18, 33, 69	African American	https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf		https://www.youtube.com/watch?v=-XBAgZzYURY	spelled with raised ^2 rather than low ^3, great teaching example for comparing vii°7/V with Ger65 (vii°65/V-V64-Ger65-V64); see also Ger°3 in m. 33
280		Harry Burleigh	Her Eyes, Twin Pools (from Passionale)	1915	m. 8 and elsewhere	African American	https://www.loc.gov/item/2011562112/		https://www.youtube.com/watch?v=zrD7JT-DqxI	traditional spelling and resolves correctly; accessible example
281		Harry Burleigh	Your Eyes So Deep (from Passionale)	1915	m. 23	African American	https://www.loc.gov/item/2011562112/		https://songofamerica.net/song/passionale/	Ger+65 arises via chromatic voice exchange from vii°7 and resolves correctly; clear hearable example that would work well early in introducing this chord; at the end of the piece it's converted into Fr+43
282		Florence Price	Suite no. 1 for Organ, mvt. 1 (Fantasy)	1942	m. 57	African American, Woman	http://www.worldcat.org/oclc/1120772450		https://www.youtube.com/watch?v=RzWH37Jlrek
283		Margaret Bonds	"Troubled Water" (from Spiritual Suite)	published 1967	m. 20	African-American, Woman	not PD; score excerpt in Hisama 2018; full score published by Videmus: https://www.videmus.org/catalog/index.php?fwa=viewScore&sid=26		https://www.youtube.com/watch?v=hf4tZHXROwc		Example from Ellie M. Hisama, "Considering Race and Ethnicity in the Music Theory Classroom," in The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin (New York: W. W. Norton, 2018), 256. For additional information about the piece, see Helen Walker-Hill, From Spirituals to Symphonies: African-American Women Composers and Their Music (Urbana: University of Illinois, 2007), 166–68.
284		German °3	R. Nathaniel Dett	Cave of the Winds (March and Two-Step)	1902	mm. 69ff.	Black Canadian-American	https://imslp.org/wiki/Cave_of_the_Winds_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=pIye0rJKO6U	highly chromatic section, incorporating viiº7 and V7 tonicizations of Am and GM, a Ger+6 (resolving directly to V7, parallel 5ths and all), and Gerº3, and a ctº7
285		Scott Joplin	Antoinette	1906	m. 33	African American	https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf		https://www.youtube.com/watch?v=-XBAgZzYURY	German °3
286		R. Nathaniel Dett	Mammy (no. 4 from Magnolia Suite)	1912	B Section	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=rmmYKV4aO74&feature=youtu.be	Prominent, extended Ger°3 chord (inverted augmented sixth, not introduced through a voice exchange, enharmonically spelled A = Bbb)	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
287		Other +6 Chords	Harry Burleigh	"Deep River"	1917	mm. 8, 24	African American	https://imslp.org/wiki/Negro_Spirituals_(Burleigh%2C_Harry_Thacker)		https://www.youtube.com/watch?v=8RRcITOyImM	augmented sixth chords with ^4 in the bass that resolve irregularly (two different ways)
288		Advanced Uses of +6 Chords	Margaret Bonds	"Troubled Water" (from Spiritual Suite)	published 1967	m. 23	African-American, Woman	not PD; score excerpt in Hisama 2018; full score published by Videmus: https://www.videmus.org/catalog/index.php?fwa=viewScore&sid=26		https://www.youtube.com/watch?v=hf4tZHXROwc	dominant-functioning German augmented sixth chord	Example from Ellie M. Hisama, "Considering Race and Ethnicity in the Music Theory Classroom," in The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin (New York: W. W. Norton, 2018), 256. For additional information about the piece, see Helen Walker-Hill, From Spirituals to Symphonies: African-American Women Composers and Their Music (Urbana: University of Illinois, 2007), 166–68.
289		Joseph White Lafitte	Violin Concerto in F-Sharp Minor, I. Allegro	1867		Cuban-French, Man	Check your library, or ask them to purchase: http://www.worldcat.org/oclc/755282438		https://open.spotify.com/track/0eHbFsMdpSvAkb0b2ukJK9?si=G4bF7telQBqukPuctV4H_w	Perfect example for Theory III or IV: first minute alone has several "textbook" examples of advanced tonal practices: neapolitan, ctº7, applied chords, modulation, Gr7 reinterpretted as V4/2 of bII, and FrV4/3
290		Will Marion Cook	Swing Along (from Three Negro Songs)	1912	m. 18, m. 58	African American, man	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=u3QRvM8_PEI	excellent example of "misspelled" German 6th w/ #2 instead of b3, resolving up to 3 in cadential six-four; both +6 chords are built on Db which is thematized throughout (chromatic descending bass lines all over the place with different harmonizations each time, huge climactic Neapolitan in m. 72, etc.); class discussion might explore Cook's musical "In Dahomey" (this song apparently appeared in the musical)
291		R. Nathaniel Dett	Magnolias (from Magnolia Suite)	1912	mm. 50–55	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=dTgZvc2TPo8	very cool recomposition of the first A section, where V7 is reinterpreted as a V7 chord to prepare deceptive moment in DbM (global tonic is DM), recovery is an odd CT chord that uses similar +6-like voice leading to restore V6/4 in DM (and this DM 6/4 chord is thematized throughout the piece); note also small interpolated Ger+6 chords in prolongations, e.g. m. 70, 73	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
292		Will Marion Cook	Cruel Papa	1914	m. 11	African American, man	https://imslp.org/wiki/Cruel_Papa!_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=3bKVijr3S-I	German 6th and its inversion via voice exchange; good discussion of augmented sixth chords in m. 2, m.7, m. 15, m. 17; some misleading spellings, eyes and ears are at oods
293		Harry Burleigh	Kashmiri Song (from Five Songs of Laurence Hope)	1915	mm. 15, 37, 63	African American, man	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=j6hGGJA-l4c	inverted +6 chords
294		Harry Burleigh	"The Jungle Flower" (from Five Songs of Laurence Hope, no. 2)	1915	m. 28	African-American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	mis-spelled Ger+6 (w/ b5 rather than #4) leads to cadential six-four but then evaded cadence (decorated with return of A section melody in the piano
295		Florence Price	My Soul's Been Anchored in the Lord	1937	m. 22	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=5peJh_lhNJE	interesting, edvanced example of an elaborated +6: it's approached as though it were a functional F chord; the F is undercut as a +6; the melody does not support the ogumented sixth at all (it has a D, not a D#), but it's an effective, clever setting, since the measure that follows suggests a dominant; the +6 thus functions as PD
296		The Neapolitan	bII6	Joseph White Lafitte	Violin Concerto in F-Sharp Minor, I. Allegro	1867		Cuban-French, Man	Check your library, or ask them to purchase: http://www.worldcat.org/oclc/755282438		https://open.spotify.com/track/0eHbFsMdpSvAkb0b2ukJK9?si=G4bF7telQBqukPuctV4H_w	Perfect example for Theory III or IV: first minute alone has several "textbook" examples of advanced tonal practices: neapolitan, ctº7, applied chords, modulation, Gr7 reinterpretted as V4/2 of bII, and FrV4/3
297		Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	mm. 195–198	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	extended passage in minor, which includes N6
298		Scott Joplin	"The Chrysanthemum"	1904	mm. 21–28	African-American, Man	https://imslp.simssa.ca/files/imglnks/usimg/6/6a/IMSLP05459-Joplin_-_The_Chrysanthemum.pdf		https://www.youtube.com/watch?v=gsgJd0YikEg	The Bbmajor harmony is IV in FM and is reinterprated as bII for the modulation from FM>Am.
299		Samuel Coleridge-Taylor	"She Sat and Sang Alway" from Sorrow Songs	1906	Third verse/rotation	African-American, Man	https://ks.imslp.net/files/imglnks/usimg/1/18/IMSLP418563-PMLP53832-COLERIDGE-TAYLOR_Sorrow_Songs_op57_Low_Voice_PF.pdf			This is tricky, since the N6 is used as a part of a modulation to bVI. It's SO COOL THO.
300		Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	m. 17	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	two different Neapolitans, both tricky and interesting. The first has ^4 in the bass but acts as a kind of deceptive resolution to a V7/IV (and ultimately leads to IV, via vii°7); the second has ^6 in the bass
301		Will Marion Cook	Swing Along (from Three Negro Songs)	1912	m. 72	African American, man	https://imslp.org/wiki/3_Negro_Songs_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=u3QRvM8_PEI	advanced example (approached strangely but resolves as planned); Db (b6) as an important pitch class throughout the song (see descending chromatic bass lines throughout; two interesting +6 chords, etc.); this bII6 is the climactic moment of the song
302		R. Nathaniel Dett	The Deserted Cabin, from Magnolia Suite, no. 2	1912	mm. 13–14	African American, man	https://ks.imslp.info/files/imglnks/usimg/0/09/IMSLP202683-SIBLEY1802.20065.b102-39087012665628vol._1_score.pdf		https://www.youtube.com/watch?v=K-WBWWB8UkI	super cool example, and tricky! tonicized bII in root position, resolves to V43 --> V6 via voice exchange	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/Dett-The-deserted-cabin-annotated.pdf
303		Harry T. Burleigh	"Worth While" from Five Songs of Laurence Hope	1915	m. 14	African-American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=mrKmXnDsIYA	complicated example; Neapolitan as chord (bII M7 in m. 42) and as key area (song opens in b minor, with arrival in C major in m. 14, eventually closing in D major)
304		Harry T. Burleigh	"Till I Wake" from Five Songs of Laurence Hope	1915	m. 78	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=qVNmSQm3BGM	complicated example, and good for discussing the difference between a tritone sub and a neapolitan -- (tonicized) root position bII9 in final cadence (i - P - V7 --> bII9 - V - I)
305		Florence Price	First Sonata for Organ, mvt. iii (Finale)	1927	mm. 16–17	African-American, Woman	http://www.worldcat.org/oclc/1099526351		https://youtu.be/ha0RIFZdxMg	root position	see annotated score at https://composersofcolor.hcommons.org/
306		Florence Price	Piano Sonata in E minor, mvt. 2	1932	mm. 27	African-American, Woman	Not PD http://www.worldcat.org/oclc/936579050		https://www.youtube.com/watch?v=1zAsAUXRAiw	in consequent phrase of a parallel period (mm. 21–28)
307	Advanced Chromatic Techniques	-	Dominant Substitutes	Margaret Bonds	I, Too (from Three Dream Portraits, no. 2)	1959	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=biRDl2eL0yM	Aeolian melody, explores T-"D"-T alternation throughout but with a variety of substitute dominants (chromatic chords, extended tertian chords, iv7, v, etc.)
308	Harry Burleigh	"Deep River"	1917	m. 5, m. 18	African American	https://imslp.org/wiki/Negro_Spirituals_(Burleigh%2C_Harry_Thacker)		https://www.youtube.com/watch?v=8RRcITOyImM	I augmented triad, where #5 is recast as a tendency tone; reappears later as an altered dominant (V+)
309	Common Tone °7	Scott Joplin	Cleopha	1902	mm. 5, 7, 13, 15	African-American	https://imslp.org/wiki/Cleopha_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=LRH-xtXR2TA	A D-sharp diminished seventh chord acts as a passing chord between and F-major tonic triad and a C dominant seventh chord. The voice leading matches the first example of a common-tone diminished seventh chord on the second page of this handout by Nancy Rogers: http://myweb.fsu.edu/nrogers/Handouts/Common-Tone_Dim_7_Handout.pdf	A simplified version of mm. 4–20 of the piece in four-part open score format appears as an example of a common-tone diminished seventh chord in Evan Jones, Mattew Shaftel, and Juan Chattah, Aural Skills in Context (New York: Oxford University Press, 2014), 560–61.
310	Scott Joplin	A Breeze from Alabama	1902	mm. 1–4	African-American	https://imslp.org/wiki/A_Breeze_from_Alabama_(Joplin%2C_Scott)		piano roll recording: https://www.youtube.com/watch?v=I5SNXkRmez8	great for discussing the difference between CT°7 and vii°7/V, especially when V6/4 is involved	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/A-Breeze-from-Alabama%E2%80%94Joplin-1.pdf
311	Joseph White Lafitte	Violin Concerto in F-Sharp Minor, I. Allegro	1867		Cuban-French, Man	Check your library, or ask them to purchase: http://www.worldcat.org/oclc/755282438		https://open.spotify.com/track/0eHbFsMdpSvAkb0b2ukJK9?si=G4bF7telQBqukPuctV4H_w	Perfect example for Theory III or IV: first minute alone has several "textbook" examples of advanced tonal practices: neapolitan, ctº7, applied chords, modulation, Gr7 reinterpretted as V4/2 of bII, and FrV4/3
312	James Bland	In the Morning by the Bright Light	1880	m. 13	African-American	https://imslp.org/wiki/In_the_Morning_by_the_Bright_Light_(Bland%2C_James_A.)
313	Edmond Dédé	Mirliton Fin de Siècle	no date (Dede's dates are 1827–1901)	mm. 48–49	Creole	https://imslp.org/wiki/Mirliton_fin_de_si%C3%A8cle_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=KTAlBmnIvNU	CT°7 respelled as vii°7/V; see also °7 that resolves to passing six-four in m. 46
314	Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	50a (first ending)	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	see also vii°7/V in mm. 4–7, 12–15
315	Eugène Dédé	Marquise Pompadour	1886	intro, m. 4; B section (G major), mm. 9–11 (with enharmonicism)	Creole	https://imslp.org/wiki/Marquise_Pompadour_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
316	Eugène Dédé	Douleur et Gaîté	1886	mm. 28, 36, 39	Creole	https://imslp.org/wiki/Douleur_et_ga%C3%AEt%C3%A9_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			great passage for teaching differences between CT°7 and vii°7/V; example in m. 39 resolves to cadential six-four but is "misspelled"
317	Gussie Davis	"In the Baggage Coach Ahead"	1896	m. 42, 50	African-American, man	https://imslp.org/wiki/In_the_Baggage_Coach_Ahead_(Davis%2C_Gussie)		https://www.youtube.com/watch?v=FHBqcJy2m2c
318	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 32	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	see also mm. 175–177 (just before Rehearsal 12)
319	R. Nathaniel Dett	Cave of the Winds (March and Two-Step)	1902	mm. 69ff.	Black Canadian-American	https://imslp.org/wiki/Cave_of_the_Winds_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=pIye0rJKO6U	highly chromatic section, incorporating viiº7 and V7 tonicizations of Am and GM, a Ger+6 (resolving directly to V7, parallel 5ths and all), and Gerº3, and a ctº7
320	Scott Joplin	Antoinette	1906	mm. 39, 75	African American	https://ks.imslp.net/files/imglnks/usimg/1/1a/IMSLP05493-Joplin_-_Antoinette.pdf		https://www.youtube.com/watch?v=-XBAgZzYURY
321	Scott Joplin	The Sacred Tree, from Treemonisha	1910	throughout	African American	https://ks4.imslp.net/files/imglnks/usimg/f/ff/IMSLP12696-Joplin_Treemonisha_No.06_The_Sacred_Tree.PDF		https://www.youtube.com/watch?v=HAEDQJBbTu0	contains many CT°7 chords, making it an idea candidate for in-class examples of that chord; since Joplin uses °7 chords of all types in close proximity, this might be an ideal practice exercise to show students the functional differences between CT°7 and secondary leading-tone chords	see annotated score at https://composersofcolor.hcommons.org/
322	R. Nathaniel Dett	Magnolias (from Magnolia Suite)	1912	throughout	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=dTgZvc2TPo8	many CT°7 chords and other common tone chords, and also good opportunities to compare CT°7 and applied °7 (see mm. 6, 8,15, 28, 48, 54, 56, 58, 90)	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
323	Count Basie Ending (I-ii7-ct°7-I6)	Count Basie Orchestra	Splanky (from Atomic Mr. Basie)	1957	end	African American			https://www.youtube.com/watch?v=zxe_LCqS2dM&ab_channel=JazzBreakTV	two-voice version
324	Count Basie Orchestra	Corner Pocket (from April in Paris)	1957	end	African American			https://www.youtube.com/watch?v=bTcmPGdDecw&feature=emb_logo	two-voice version
325	Other CT Chords	Harry Burleigh	Your Lips are Wine (from Passionale)	1915	mm. 7–13	African American	https://www.loc.gov/item/2011562112/		https://songofamerica.net/song/passionale/	CT Ger+65 alternating with tonic
326	Augmented Triads	Francis Johnson	Victoria Gallop	ca. 1839	mm. 9–20	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)	https://www.youtube.com/watch?v=nD7_y0ucv9U	IV chord becomes augmented in last eighth
327	Harry Burleigh	"Deep River"	1917	m. 5, m. 18	African American	https://imslp.org/wiki/Negro_Spirituals_(Burleigh%2C_Harry_Thacker)		https://www.youtube.com/watch?v=8RRcITOyImM	I augmented triad, where #5 is recast as a tendency tone; reappears later as an altered dominant (V+)
328	William Grant Still	Idolatry (from Songs of Separation)	1949	mm. 16–end	African-American	non-PD; available in your library		https://www.youtube.com/watch?v=EbmKvh6XIdI	final section explores different hexatonic collections and emphasizes individual augmented triads; great singing or listening example for hearing augmented triad (clearly outlined in melody); song also uses octatonicism and Dorian #4	https://www.jstor.org/stable/779291
329	Equal Subdivisions of the Octave
330	Omnibus Progressions	Samuel Coleridge-Taylor	Violin Sonata, Op. 28, mvt. i	?1898	mm. 111–118	Afro-European	https://imslp.org/wiki/Violin_Sonata,_Op.28_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=8fa-U_kPJiI	mm. 77–80
331	Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	mm. 18–19	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc
332	Florence Price	Dawn's Awakening	1936	mm. 1–8		available in your library (or ask your library to purchase): https://www.worldcat.org/title/44-art-songs-and-spirituals/oclc/1027679735&referer=brief_results		https://www.youtube.com/watch?v=DR0f-LLajxY&ab_channel=MichaelHawes	Chromatic wedge progression in m. 1, chromatic wedge against a pedal bass in mm. 3-6, depicting the dawn, and both outer voices resume chromatic contrary motion in mm. 6-8
333	Enharmonicism (General Topic)	Scott Joplin	The Cascades	1904	throughout	African American	https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	many great spots for talking about enharmonic spelling throughout; m. 5 would be accessible even in theory 1 (why is there a D# and an Eb)
334	Chromatic Modulation	-	Pivot Chord Modulations	Samuel Coleridge-Taylor	Romance in G for Violin and Orchestra, Op. 39	1899	m. 46	Afro-European	https://imslp.org/wiki/Romance_for_Violin,_Op.39_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=n2nYhQjNpp0	bII as a pivot chord (I6-->bII6) in modulation from BM to BbM
335	Common Tone Modulation	Samuel Coleridge-Taylor	Violin Sonata, Op. 28, mvt. i	?1898	mm. 51–55	Afro-European	https://imslp.org/wiki/Violin_Sonata,_Op.28_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=8fa-U_kPJiI	Dm-->FM
336	Samuel Coleridge-Taylor	"A Tale," Hiawathan Sketches, Op. 16, no. 1	1896	B Section	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			GM-->BbM
337	Scott Joplin	A Breeze from Alabama	1902	B section --> C section	African-American	https://imslp.org/wiki/A_Breeze_from_Alabama_(Joplin%2C_Scott)		piano roll recording: https://www.youtube.com/watch?v=I5SNXkRmez8	phrase modulation; CM --> AbM; see also play with chromatic mediants (AbM-->EM)	see annotated score: https://hcommons.org/app/uploads/sites/1001896/2021/04/A-Breeze-from-Alabama%E2%80%94Joplin-1.pdf
338	Bob Cole	Everybody Wants to See the Baby	1903	mm. 14–15	African American	https://imslp.org/wiki/Everybody_Wants_To_See_the_Baby_(Cole%2C_Bob)			^5 --> ^3
339	Enharmonic Reinterpretation of vii°7
340	Enharmonic Reinterpretation of Ger+65	Joseph White Lafitte	Violin Concerto in F-Sharp Minor, I. Allegro	1867		Cuban-French, Man	Check your library, or ask them to purchase: http://www.worldcat.org/oclc/755282438		https://open.spotify.com/track/0eHbFsMdpSvAkb0b2ukJK9?si=G4bF7telQBqukPuctV4H_w	Perfect example for Theory III or IV: first minute alone has several "textbook" examples of advanced tonal practices: neapolitan, ctº7, applied chords, modulation, Gr7 reinterpretted as V4/2 of bII, and FrV4/3
341	Florence Price	"Love-in-a-mist"	1940s?	mm. 13–25	African American, woman	non-PD; available in many music libraries: http://www.worldcat.org/oclc/1027679735		recording needed! soprano and piano	extended tonicization of bVI, clearly textually motivated (supernatural/internal monologue); transformed to Ger+6/5 to return to home key
342	Pump-Up Modulation	Betty Jackson King	In the Springtime	1976	m. 33	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM	up m2
343	Extended Tertian and Added Note Harmonies	Added Sixths	I6 (jazz, i.e. I with added sixth)	Florence Price	Ticklin' Toes	1933	mm. 25–27, 29–31	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA
344	Florence Price	Song to the Dark Virgin	1941	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	uses I w/ added sixth throughout; very clear and easy to hear so could be introduced as tonic function even in theory 1; from another analyst: Textbook example of an added-sixth chord. This is a thematic, defining aspect of the piece, and it appears prominently throughout. The last two measures are crystal-clear about this (AbM with F), as is the cadence in m. 6. The opening is an ambiguous, interesting case: it is NOT clear in m. 1 that it is an added-sixth, but the function of the chord is clarified by the cadence.
345	Florence Price	My Dream	1935	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=lLbhy03VgXE	many chords have added sixths throughout, but especially prominent in the opening and closing
346	Undine Smith Moore	Love Let the Wind Cry --- How I Adore Thee	1961	throughout	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=jbhvq59P744	tonic (and some other) chords throughout have added sixth, very clear in opening progression where ^6 is highlighted in an inner voice melody
347	Eugène Dédé	Buenas Noches!	1893	throughout	Creole	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
348	Extended Tertian Sonorities	General	Dolores White	Las Tarantulas (cello and piano)	1992	throughout	African American, Woman	in Black Women Composers: Twentieth Century Music for Piano and Strings		https://www.youtube.com/watch?v=5GKqeMiCZuk	good for studying extended tertian chords and other additions
349	Ninths	Edmond Dédé	Méphisto Masqué	186(?)	p. 1 (piano version)	Creole	https://imslp.org/wiki/M%C3%A9phisto_masqu%C3%A9_(D%C3%A9d%C3%A9%2C_Edmond)		https://www.youtube.com/watch?v=hYdxoKck6_U	note, there is an orchestral version and a piano arrangement; Vb9 becomes V9
350	Chiquinha Gonzaga	Sospiro	ca. 1881	m. 21	Brazilian, Woman	https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)		https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)	very clear V9 chord
351	Harry Burleigh	Kashmiri Song (from Five Songs of Laurence Hope)	1915	mm. 36–39	African American, man	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=j6hGGJA-l4c	dominant ninth chords (nonfunctional?); Gb9 becomes F# (dominant of the original key)
352	Florence Price	Suite no. 1 for Organ, mvt. 1 (Fantasy)	1942	throughout	African American, Woman	http://www.worldcat.org/oclc/1120772450		https://www.youtube.com/watch?v=RzWH37Jlrek	dominant ninths throughout, see especially mm. 9–10 (linear progression of V9); m. 29 (unfolded °7, each note with a dominant ninth harmony over it but non-functional; the 9ths create the sound of the harmonic series, like an organist making very colorful registrations (compare Debussy's planing); see als m. 42
353	Undine Smith Moore	Watch and Pray	1972	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=BKyL8xyYIYk	very clear V9 chords, e.g. m. 28 (with melody highlighting 9th and 11th), but also nice examples of iv9 and other extended tertian sonorities; opportunities to compare non-chord tones and added ninths
354	Thirteenths
355	Neo-Riemannian Transformations	-	P, L, R	Vincente Lusitano	Heu me domine	1551	mm. 29–34; throughout	Portuguese, of African descent, man	https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf		https://www.youtube.com/watch?v=Q5ApDUYxRGc	pervasive throughout -- could do a scavenger hunt; some examples: L (AM-->C#m, m. 31; GM-->Bm m. 32), P (EM-->Em mm. 29–30), LP (Bm-->Gm mm. 32–33, EM-->CM m. 21); RP/N sequence (mm. 57–60)
356	Florence Price	Piano Sonata in E minor, mvt. 2	1932	mm. 58–60	African-American, Woman	Not PD http://www.worldcat.org/oclc/936579050		https://www.youtube.com/watch?v=1zAsAUXRAiw	chain of LP transformations (DM --> F#M --> BbM)
357	Florence Price	My Dream	1935	mm. 7–14, 27–31	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=lLbhy03VgXE	lots of interesting chromatic thirds relationships, including two sequences of PR transformations (mm. 7–10, 27ff.), and a juicy common tone through an S/LP series (mm. 12–14)
358	Slide
359	Other Contextual Transformations
360	Hexatonic/Octatonic Systems
361	HexPole
362	Jazz Harmony	-	Tritone Substitution	Florence Price	Piano Sonata in E minor, mvt. 2	1932	m. 46	African-American, Woman	Not PD http://www.worldcat.org/oclc/936579050		https://www.youtube.com/watch?v=1zAsAUXRAiw	Bb7 replaces E7 in a chain of secondary dominants leading to a modulation
363	Other Analysis Topics	-	Virtuosity	Joseph White (José Silvestre White Lafitte)	Zamacueca, Op. 30 (for violin and piano)	1897	entire piece	Afro-Cuban	https://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)		https://www.youtube.com/watch?v=TgG-5R2ICOk	virtuosic showpiece for violin; techniques include double stops, left hand pizz, artificial harmonics, ricochet
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	A	B	C	D	E	F	G	H	I	J	K	L
1	INSTRUCTIONS -- The goal here is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)									10 examples so far!
2	Topic	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)

3	Species	First
4		Second
5		Third
6		Fourth
7		Mixed Values	Julia Perry	"I'm a Poor Little Orphan" (spiritual arrangement)	1952	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=D6fQctPhHwQ	second page -- duet between voice and piano (also a good duet for first-semester aural skills)
8	Cadences	Proper
9	Cadences	Evaded
10	Voice Leading Techniques	Parallel 3rd	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Theme and piano RH at mm. 59	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
11		Parallel 6th
12		Parallel 10th
13		Clausala vera	Scott Joplin	"We're Goin' Around" No. 4 from Treemonisha	1910	mm. 27–32	African-American, man	https://imslp.org/wiki/Special:ImagefromIndex/12694/hfnm		https://www.youtube.com/watch?v=QGoQpf9QliQ&ab_channel=VariousArtists-Topic	focusing on the soprano and alto line, mostly works as mixed-species (1st, 2nd, and 4th) counterpoint. Though the song is in G, the clausala vera occurs m. 30 and emphasizes B minor with a M3 expanding out to an octave. I find this useful for rhythmic reduction and cross-style compare/contrast exercises, like on a unit exam.
14		Fauxbourdon
15	Imitation	Imitative Entries	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	mm. 80-82; 133	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
16			Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. i	1773	mm. 81–84, 94–97	Afro-European, Caribbean heritage			https://www.youtube.com/watch?v=m_a0gpuy510	imitation in all four voices in development section
17			Vincente Lusitano	Heu me domine	1551	mm. 33–34	Portuguese, of African descent, man	https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf		https://www.youtube.com/watch?v=Q5ApDUYxRGc	imitative entries at a variety of time and pitch intervals
18			R. Nathaniel Dett	Magnolias (from Magnolia Suite)	1912	mm. 17–32	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=dTgZvc2TPo8	Ternary form B section involves imitation between piano LH and RH	https://www.upress.state.ms.us/Books/R/Racial-Uplift-and-American-Music-1878-1943
19		Canons	Coleridge-Taylor Perkinson	Calvary Ostinato (from Lamentations: Black/Folk Song Suite for Solo Cello)	1980	m. 48	African-American	non-PD: http://www.worldcat.org/oclc/433613342		https://www.youtube.com/watch?v=-39z3r7c8xg	imitative counterpoint and canon in development
20	Invertible Counterpoint	Octave	Joseph Boulogne	String Quartet Op. 1 no. 4, mvt. i	1773	mm. 15–19	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=2nYDZ39qo7U	imitation and invertible counterpoint
21		Twelfth
22		Tenth
23	Three Parts
24	Four Parts
25	More Parts
26	Dissonant Counterpoint		Henry Threadgill	Sixfivetwo	2018	from A1	African American, male	http://50ftf.kronosquartet.org/composers/henry-threadgill		http://50ftf.kronosquartet.org/composers/henry-threadgill
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	A	B	C	D	E	F	G	H	I	J	K	L
1	INSTRUCTIONS -- The goal here is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)									32 examples so far!
2	Topic	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)

3	Heptatonic	Major	Joseph Bologne, Chevalier de Saint-Georges	Violin Concerto in A Major, Op. 5 No. 2: I. Allegro Moderato	1745	m. 12	Afro-European, caribbean heritage, man	https://imslp.org/wiki/2_Violin_Concertos,_Op.5_(Saint-Georges,_Joseph_Bologne)		21:05-21:09	IMSLP source is parts only (no score) [being worked on!]
4			Eugène Dédé	Buenas Noches! Op. 243	?1893	Throughout	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
5			Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Primary Theme (mm. 1-12)	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
6		Minor (natural)	Julia Perry	"I'm a Poor Little Orphan" (spiritual arrangement)	1952	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=D6fQctPhHwQ	mix of strict Aeolian and minor Pentatonic
7		Minor (harmonic)	Eugène Dédé	Buenas Noches! Op. 243	?1893	mm. 21-26	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
8		Minor (harmonic)	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Development (c. mm. 70-87)	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
9		Minor (melodic)	Ignatius Sancho	Minuet no. 11 from Minuets for the Violin, Mandolin, German Flute, and Harpsichord	ca. 1779	entire piece	Afro-European, man	http://ks4.imslp.net/files/imglnks/usimg/9/9e/IMSLP313571-PMLP506290-SANCHO_Dances_KBD_Horns_fl_vn_vc.pdf		historically-informed performers of some of Sancho's minuets: https://www.youtube.com/watch?v=ICiQF8YZmSg&app=desktop	different types of descending melodic minor scale in the first few measures; why might Sancho use raised 6 and 7 in one measure, but lowered in the next? (hint: what is the underlying harmony of these two measures?)
10	Diatonic Modes	Aeolian	Margaret Bonds	I, Too (from Three Dream Portraits, no. 2)	1959	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=biRDl2eL0yM	clearly Aeolian melody with some chromatic color
11			Samuel Coleridge-Taylor	Violin Sonata, Op. 28, mvt. i	?1898	mm. 1–54	Afro-European, man	https://imslp.org/wiki/Violin_Sonata,_Op.28_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=8fa-U_kPJiI	long tonic pedal with improvisatory Aeolian melody
12			Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	B section (from "You should have wept")	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	melody is clear Aeolian, some #7 in the accompaniment; i-bVII- emphasized harmonically at the end of the song
13		Dorian
14		Hypodorian
15		Lydian	Chen Yi	Happy Rain on a Spring Night	2004	opening passage	Chinese-American	non-PD; available for purchase		https://www.youtube.com/watch?v=6A42URbyhx8	shifting collections in opening; mix of D dorian, Db lydian, and By lydian; for more collection work see Rehearsal C, rehearsal F (C lydian or A dorian)
16		Hypolydian
17		Mixolydian	Janelle Monáe Robinson	Make me feel	2018	verses and chorus	African-American, LGBTQ+	non-PD; rumor has it that Brian has partially transcribed sections		https://www.youtube.com/watch?v=tGRzz0oqgUE	also useful to illustrate the value of different (hyper)metric placement of melodic phrases to generate contrast (Verses and Chorus use the same harmonic pattern)
18		Hypomixolydian
19		Phrygian	George Walker	Lament (for voice and piano)	1975	m. 1-6	African-American, pulitzer prize winner, man	non-PD, included in "Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=tZ5auzpQ0kg	a short burst of the phrygian mode in e minor, tonality fluxuates throughout the piece and these measures are the only easily noticable phrygian references
20		Phrygian	Undine Smith Moore	"I Am in Doubt"	1975	mm. 19–21, bassline mm. 1–5	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=FjGV8rHU4Ro	bursts of Phrygian scale segments combined with diatonic segments, [027], and a single WT collection; suitable/excellent for atonal aural skills
21		Hypophrygian
22		Locrian
23	Pentatonic	Major	Florence Price	Symphony No. 1 in e minor, mvt. III	1932	track timing 0:18–0:26	African-American, Woman	non-PD; http://www.worldcat.org/oclc/1103601795; score reduction in Jones, Shaftel, and Chattah (2014)		https://www.youtube.com/watch?v=_2d_2JJBcMs	The fast figuration in the violins and melody in the trumpet in this passage are entirely pentatonic. The bass line includes diatonic scale degree 4 (F relative to the local C major tonic) partway through the excerpt.	A reduction of the score is published as an example of major pentatonic in Evan Jones, Mattew Shaftel, and Juan Chattah, Aural Skills in Context (New York: Oxford University Press, 2014), 66. The reduction does not identify the original measure numbers.
24			Florence Price	Sonata in E Minor, mvt. i	1932	mm. 53–76 (second theme)	African-American, Woman	non PD: http://www.worldcat.org/oclc/936579050		https://youtu.be/6dRAYQOD-TQ
25			Florence Price	My Dream	1935	mm. 1–7	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=lLbhy03VgXE	first phrase is in DM pentatonic, then transposed up a fourth to GM pentatonic (cf. OCT 1,2 collection that follows (!!))
26			Margaret Bonds	The Pasture	1958	entire song	African-American, Woman	in Rediscovering Margaret Bonds, ed. Louise Toppin		https://www.youtube.com/watch?v=F7nONEj_l9w	pentatonic throughout; nice opportunity to compare melodic pentatonicism and chords that consist of stacked fourths; would be great for an aural skills class because the melody is singable
27			Undine Smith Moore	Is There Anybody Here that Loves my Jesus	1981	mm. 5–12 (and throughout)	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=X8yRzsFfvM4	much of the melody is pentatonic; would be a good singing example for aural skills students as well; possible discussion topic is how shift to diatonicism for the verse (at m. 17) signals shift towards a more concert idiom (new pianistic texture and harmonization)
28		Minor	Florence Price	Symphony No. 1 in e minor, mvt. I	1932	mm. 1–10	African-American, Woman	non-PD; http://www.worldcat.org/oclc/1103601795; score reduction in Jones, Shaftel, and Chattah (2014)		https://www.youtube.com/watch?v=UZTmMmcnvHs	The opening melody in the bassoon and oboe is almost entirely pentatonic, except for pausing on diatonic scale degree 2 (F-sharp relative to the e minor tonic) when the tempo slows in measures 5 and 6. The accompaniment in the horns in measures 7 to 10 also includes diatonic scale degree 6 (C).	A reduction of the score is published as an example of minor pentatonic in Evan Jones, Mattew Shaftel, and Juan Chattah, Aural Skills in Context (New York: Oxford University Press, 2014), 90.
29			Florence Price	Resignation	1964 (op. posth.?)	all	African-American, Woman	non-PD; http://www.worldcat.org/oclc/1027679735		https://www.youtube.com/watch?v=KQe3N1RnGsk https://www.youtube.com/watch?v=940_2szqH6c	The vocal melody uses the F minor pentatonic scale throughout. The piano accompaniment is not solely pentatonic and includes some chromaticism.
30			Julia Perry	"I'm a Poor Little Orphan" (spiritual arrangement)	1952	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=D6fQctPhHwQ	mix of strict Aeolian and minor Pentatonic
31		Other
32	Hexatonic	Blues Scale	Bobby Timmons	Moanin' (as recorded by Art Blakey & the Jazz Messengers)	1958	all	African-American, man	non-PD (in most Real Books)		https://www.youtube.com/watch?v=Cv9NSR-2DwM
33	Hexatonic	Blues Scale	Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	mm. 7–14, 21–24, throughout	African American, man	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	mix of Blues scale, modal, and tonal melodic construction
34	Other	Chromatic	Vincente Lusitano	Heu me domine	1551	subject voices throughout motet	Portuguese, of African descent, man	https://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP625287-PMLP328104-Lusitano_Heu_me_Domine_4_-_Score.pdf		https://www.youtube.com/watch?v=Q5ApDUYxRGc
35		Chromatic	Dolores White	Las Tarantulas (cello and piano)	1992	throughout	African American, Woman	in Black Women Composers: Twentieth Century Music for Piano and Strings		https://www.youtube.com/watch?v=5GKqeMiCZuk	moves up and down chromatic scales; great listening example for a fundamentals class or opportunity to explore chromatic PTs vs. diatonic pitches
36		Whole Tone	Zenobia Powell Perry	Excursion	1989	mm. 69-end		non-PD (http://www.hildegard.com/catalog.php?keyword=494-02665)			mm. 93-end is a recasting of the opening pandiatonic material into whole-tone material
37		Octatonic	William Grant Still	The Breath of a Rose	1928	throughout	African-American	https://www.worldcat.org/title/224510566		https://www.youtube.com/watch?v=Ev7TIOT6FC4	uses OCT0,1 throughout, but with other materials (extended tertian sonorities, some points of high dissonance, some functional tonality)
38		Octatonic	William Grant Still	Poème (from Songs of Separation)	1949	mm. 8–13 (most of the song)	African-American	non-PD; available in your library		https://www.youtube.com/watch?v=aPUPiXOO83Q	short song; plays with contrast between diatonic and octatonic collections; clearly audible and a great teaching example; would be excellent for an aural skills class (students could learn to sing the whole melody a cappella, and could also work on singing the upper voice in the piano in mm. 8–13 (octatonic scale))	https://www.jstor.org/stable/779291 (includes a translation of the text)
39		Modes of Limited Transposition
40		Synthetic	William Grant Still	Idolatry (from Songs of Separation)	1949	throughout, esp. mm. 1–10 and 14-15	African-American, man	non-PD; available in your library		https://www.youtube.com/watch?v=EbmKvh6XIdI	much of the song uses a rotation of the harmonic minor scale (jazz: Dorian #4); juxtaposed with some jazz and tonal harmony, augmented triads, and octatonic collections
41		Multi-Octave
42		12-tone	George Walker	Spatials	1960	Throughout	African American, man	non-PD; https://www.halleonard.com/product/viewproduct.action?itemid=41674		https://www.youtube.com/watch?v=CQLa5dDGgaQ	Spatials is a set of six twelve tone variations on an original theme called, "Statement," composed in 1960. Its title suggests colors emanating from changing dispositions occurring in the different registers of the piano.' (https://webcache.googleusercontent.com/search?q=cache:a_NnPZ2hvX8J:georgetwalker.com/program_notes/notes_spatials.html)
43		12-tone	Eric Dolphy/John Coltrane	Red Planet/Miles' Mode	ca.1961	mm.1-4	African American, man	http://adale.org/Discographies/RedPlanet.jpg	https://jazztranscriptions.files.wordpress.com/2014/01/johncoltrane-milesmode.pdf	https://www.youtube.com/watch?v=1mZ8F1Y56Gg	The head contains a row (P11 <e24168970t53>) and its retrograde (R11 <35t07986142e>), but is not a thoroughly twelve-tone composition. Was probably composed by Eric Dolphy: http://adale.org/Discographies/RedPlanet.html	https://uebergreifen.blogspot.com/2012/08/the-red-planet-miles-mode.html
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	A	B	C	D	E	F	G	H	I	J	K
1		51 examples so far!
2	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)
3	Good General Examples of NCT Use	Isaac Hazzard	Susana, from Terpsichore	1836	throughout	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			lots of chromatic passing and neighbor tones over clear harmonies, mostly articulated in block chords
4	Eugène Dédé	Chiffonette	1896	Trio	Creole	https://imslp.org/wiki/Chiffonnette%2C_Op.236_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			similar texture to Chopin mazurkas; would be accessible
5	Scott Joplin	Augustan Club Waltz	1901	throughout	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	very clear block harmonies in LH and obvious figuration in eighth notes in right hand, with different figuration issues for each section; would work well to do one section together in class and assign another as homework; includes PTs, NTs CNTs, CPTs, chordal arpeggiations, double neighbors, etc.
6	Samuel Coleridge-Taylor	"She Sat and Sang Alway" from Six Sorrow Songs, Op. 57, no. 4	1906	throughout	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=SjvmU-joA4I	nice example of many NCT types, and they get trickier throughout the song. Opens with tonic pedal and lots of of complete and incomplete neighbors and passing tones; very clear appogiatura in m. 18, chromatic passing tone in m. 19, and inner voice suspension in m. 21. Harmony is analyzable by first year students
7	Charlie Parker	Ornithology	1920	mm. 1-13	African American	non-PD (but in most Real Books)
8	Joseph White	Six Etudes, No. 6	1869	Throughout	African American	https://www.dropbox.com/s/klvn29190g6byej/6%20etudes%20op%2013%E2%80%94White.pdf?dl=0		https://www.youtube.com/watch?v=J1uj1D8SxvI
9	Passing Tones	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
10	Scott Joplin	The Cascades	1904	throughout	African American	https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	chromatic passing tones throughout
11	Dolores White	Las Tarantulas (cello and piano)	1992	throughout	African American, Woman	in Black Women Composers: Twentieth Century Music for Piano and Strings		https://www.youtube.com/watch?v=5GKqeMiCZuk	abundant chromatic passing tones; would make a challenging aural skills example
12	Accented PTs	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
13	Upper NTs	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
14	Lower NTs	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
15	Francis Johnson	Victoria Gallop	ca. 1839	mm. 2, 4, 6, 19, 30, and corresponding repeated parts	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin		https://www.youtube.com/watch?v=nD7_y0ucv9U	good teaching piece for chromatic lower neighbors, plus appogiaturas mm. 21–22
16	Aaron Connor (Conner) (d. 1850)	Valse a cinq temps	1847	throughout	African-American, man	available for purchase here: http://www.amaranthpublishing.com/AfricanAmericanComposers.html			chromatic lower neighbors (i.e. mm. 3, 7) and cambiata (m. 9)
17	Gussie Davis	"In the Baggage Coach Ahead"	1896	throughout	African-American, man	https://imslp.org/wiki/In_the_Baggage_Coach_Ahead_(Davis%2C_Gussie)		https://www.youtube.com/watch?v=FHBqcJy2m2c	CLNs throughout
18	Bob Cole	Everybody Wants to See the Baby	1903	throughout	African American	https://imslp.org/wiki/Everybody_Wants_To_See_the_Baby_(Cole%2C_Bob)			chromatic lower neighbors and chromatic passing tones
19	Eugène Dédé	Buenas Noches!	1893	m.10-14, mm. 66	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Mm. 10-16: chromatic lower neighbors (B in m. 10 or B-Bb in mm. 13)
20	Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	B section (from "You should have wept")	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	https://www.youtube.com/watch?v=VxEnIA_s5Es	CLNs, especially in the opening phrases
21	Samuel Coleridge-Taylor	African Dances, Op. 58, no. 2	1904	entire piece	Afro-European	https://imslp.org/wiki/4_African_Dances%2C_Op.58_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=j5Kl3jRWmQU	nice examples of chromatic lower neighbors throughout (and with clear chordal harmony in piano for context); several excellent passages for an aural skills class
22	Double NTs	Eugène Dédé	Buenas Noches!	1893	mm. 79	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Double neighbors in parallel thirds
23	Incomplete NTs	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
24	Eugène Dédé	Buenas Noches!	1893	mm. 27	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			F# incomplete neighbor to G (over V)
25	Chiquinha Gonzaga	Sospiro	ca. 1881	throughout	Brazilian, Woman	https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)		https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)	tango -- tons of incomplete chromatic lower neighbors (especially #4-5) -- a brutal (but productive) exercise for aural skills!
26	Appogiaturas	Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	throughout	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	appoggiaturas and suspensions throughout
27	Chiquinha Gonzaga	Fado das tricanas de Coimbra	Gonzaga is 1837–1925	throughout	Brazilian, Woman	https://imslp.org/wiki/Fado_das_tricanas_de_Coimbra_(Gonzaga%2C_Chiquinha)		https://www.youtube.com/watch?v=TmxS6YA0bMc	many clear appogiaturas over arpeggiated accompaniment; a good starting point for students new to identifying figuration
28	Harry Burleigh	"The Jungle Flower" (from Five Songs of Laurence Hope, no. 2)	1915	mm. 22–29	African-American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	several clear/thematized appogiaturas
29	Florence Price	Song to the Dark Virgin	1941	m. 4, m. 9, m. 12, m. 23	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	gorgeous Db appogiatura thematized throughout, and presented in several different contexts
30	Accented NTs	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
31	Suspensions	Joseph Boulogne	String Quartet Op. 1, no. 5, mvt. i	1773	mm. 1–4, mm. 55–59, 62–64	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets,_Op.1_(Saint-Georges,_Joseph_Bologne)		https://www.youtube.com/watch?v=LyzL1cjXkyw	opening phrase uses 4–3 and 7–6 suspensions over clear first-semester harmonies (though my students found them a little tricky); the S theme adds other figuration so this would be a nice example for general discussion of figuration; development builds on the suspension idea in several places including a fun chain of 7–6 suspensions
32	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
33	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
34	Anticipations
35	Tonic Pedal	Joseph Boulogne	String Quartet Op. 1 no. 4, mvt. ii	1773	mm. 45–52	Afro-European, Caribbean heritage	https://imslp.org/wiki/6_String_Quartets%2C_Op.1_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=2nYDZ39qo7U
36	Joseph Boulogne	String Quartet Op. 1, no. 6, mvt. i	1773	mm. 1–36	Afro-European, Caribbean heritage			https://www.youtube.com/watch?v=m_a0gpuy510	alternating tonic and dominant pedals through this whole passage, including upper voice pedal tones
37	Francis Johnson	Victoria Gallop	ca. 1839	mm. 21–22	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)	https://www.youtube.com/watch?v=nD7_y0ucv9U
38	Eugène Dédé	Buenas Noches!	1893	m. 33	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			LH hold tonic chord while RH plays similar figure that was harmonized with V earlier in the passage (see. m. 31)
39	Samuel Coleridge-Taylor	"Lament," Op. 9, no. 1	1896	mm. 10–14, 55–59	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)
40	Samuel Coleridge-Taylor	Violin Sonata, Op. 28, mvt. i	?1898	mm. 1–54	Afro-European	https://imslp.org/wiki/Violin_Sonata,_Op.28_(Coleridge-Taylor,_Samuel)		https://www.youtube.com/watch?v=8fa-U_kPJiI	long tonic pedal with improvisatory Aeolian melody
41	Samuel Coleridge-Taylor	"Oh What Comes Over the Sea" op 57, no 1	1906	mm 1–12	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=RIsKb4xM8bg	The main melody in the first 12 bars is an excellent exercise for musicianship, a sort of hybrid harmonic minor/phrygian scale, with sparse accompaniment. The following section involves chromatic harmony and augmented dominants.
42	Julia Perry	How Beautiful are the Feet	1954	throughout	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY	implied in mm. 5-6, explicit in mm. 21-22, half there in mm. 57-58
43	Betty Jackson King	In the Springtime	1976	mm. 1–11	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM	introduction has tonic pedal, supporting 8-7-b7-6-5 inner voice; foreshadows chromatic lines that come later; ^5 pedal between verses
44	Dominant Pedal	Eugène Dédé	Buenas Noches!	1893	mm. 44-45	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Scale Degree 5 is held from tonic chord through four measures. Second chord is a bit ambiguous.
45	Francis Johnson	A Collection of New Cotillons, IV. Caroline	1818	mm. 1–3	African American	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
46	Francis Johnson	Victoria Gallop	ca. 1839	mm. 8–12	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)	https://www.youtube.com/watch?v=nD7_y0ucv9U
47	Edmond Dédé	Chicago, Grand valse à l'Americaine	1892	mm. 19–37	Creole	https://imslp.org/wiki/Chicago_(D%C3%A9d%C3%A9,_Edmond)		https://www.youtube.com/watch?v=ChwGJ-Rl1Zc	standing on the domnant with various chords above the pedal
48	Samuel Coleridge-Taylor	"Oh, Roses for the flush of youth" (from Six Sorrow Songs), Op. 57, no. 3	1906	mm. 9–12	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-3-oh-roses-for-the-flush-of-youth	Recording Needed
49	Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	mm. 15–18	African American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	SRDC structure, with D section using dominant pedal following clear i:PAC, dom pedal resolves deceptively
50	Florence Price	Ticklin' Toes	1933	mm. 17–32	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA
51	Florence Price	Song to the Dark Virgin	1941	mm. 1–3, 7–8	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	opens with alternating I and V over a dominant pedal; in second verse this idea returns except with a tonic pedal
52	Florence Price	Sonata in E Minor, mvt. i	1932	mm. 165–7, 188–97, 265–70	African-American, Woman	non PD: http://www.worldcat.org/oclc/936579050		https://youtu.be/6dRAYQOD-TQ
53	Pedal Tones (General)	Harry Burleigh	Kashmiri Song (from Five Songs of Laurence Hope)	1915	mm. 15, 37, 63	African American, man	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=j6hGGJA-l4c	inverted +6 chords
54	Jose Garcia Nunes	Symphonie funebre	1790	throughout	Brazilian, man	https://imslp.org/wiki/Sinfonia_F%C3%BAnebre_(Garcia%2C_Jos%C3%A9_Maur%C3%ADcio_Nunes)		https://www.youtube.com/watch?v=bIemHF2vBuQ	pedal tones throughout
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57		looking for more topics? check the tabs at the top/bottom of the page!

	A	B	C	D	E	F	G	H	I	J	K	L
1	INSTRUCTIONS -- The goal here is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)
2	See also individual collections, listed under SCALES & TONALITES tab									13 examples so far!
3	Topic	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)

4	General: Atonal Works Suitable for Analysis
5	Register	Pitch vs Pitch class
6	Register	Contour relations
7	Set Theory	Pitch Transposition
8		Pitch-Class Transposition
9		Pitch Inversion
10		Pitch-Class Inversion
11		Pitch-class Set Analysis	Chen Yi	Happy Rain on a Spring Night	2004	throughout	Chinese-American	non-PD; available for purchase		https://www.youtube.com/watch?v=6A42URbyhx8	good for trichord and tetrachord analysis (for instance, string and wind tremolos throughout); mm. 35–37 shifting tetrachords in the woodwinds (C#-Eb-F-G WT --> E-F#-G#-A diatonic); shifts up a step in 38–9 and 40–41
12		Motivic transformations
13		Transpositional Symmetry
14		Inversional Symmetry	Julia Perry	Pastoral	1959	mm. 1–5, 12–14, 60	African-American	non-PD; available for purchase		https://www.youtube.com/watch?v=mhor6WiPR3M	good for set-class analysis, fugue analysis, includes inversionally symmetrical harmonies, pitch centricity around A, and a number of ic5-related harmonies
15		Z-Relations
16		Inclusion Relations
17	Interval Cycles	--
18	Near Transposition/ Inversion	--
19	Centricity and Collections (NB: individual collections listed under SCALES & TONALITIES tab)	Pitch centricity	Dorothy Rudd Moore	"O Black and Unknown Bards" from The Dark Tower (no. 1)	1970	throughout	African American, Woman	http://www.worldcat.org/oclc/1139321752		https://www.youtube.com/watch?v=GRuJ6dtEFDw	(note, the recording has errors); could spend an entire class of post-tonal harmony on this song; would be a great group analysis project for later in the semester; based on a famous text with lots to interpret; good final analysis paper example
20			Julia Perry	Pastoral	1959	throughout	African-American	non-PD; available for purchase		https://www.youtube.com/watch?v=mhor6WiPR3M	good for set-class analysis, fugue analysis, includes inversionally symmetrical harmonies, pitch centricity around A, and a number of ic5-related harmonies
21			Coleridge-Taylor Perkinson	String Quartet no. 1 ("Calvary"), mvt. ii	1956	enitre piece	African-American	non PD: http://www.worldcat.org/oclc/969455183		https://open.spotify.com/track/0BU0yyb8DTrBK9bykgMiOi?si=k72eO3puQg-qfjdt8D4gig	good piece for class discussion with topics including form, centricity, and harmony; ternary form, mostly locally diatonic with constantly shifting collections; generally triadic, non-functional harmony with some chromatic extensions; centricity: A sections have G soprano pedal with C-rooted chords; B section has an initial E center destabilized by stepwise voice leading
22		Inversional axes of symmetry	Julia Perry	Pastoral	1959	mm. 14–15	African-American	non-PD; available for purchase		https://www.youtube.com/watch?v=mhor6WiPR3M	good for set-class analysis, fugue analysis, includes inversionally symmetrical harmonies, pitch centricity around A, and a number of ic5-related harmonies
23		Wedges
24		Systematic use of collections	Zenobia Powell Perry	Excursion	1989	throughout	African-American, Woman	in Black Women Composers: Twentieth-Century Music for Piano and Strings			good example of scales and collections throughout; whole tone from m. 69 to end. The recasting of the opening motivic materials (which are pandiatonic) into whole tone version at m. 93 is especially interesting. Diverse examples of WT melodic structures
25		Systematic use of collections	Chen Yi	Happy Rain on a Spring Night	2004	throughout	Chinese-American	non-PD; available for purchase		https://www.youtube.com/watch?v=6A42URbyhx8	see especially opening passage, Rehearsal C, Rehearsal F
26	Dodecaphony	P, R, I, RI	Eric Dolphy/John Coltrane	Red Planet/Miles' Mode	ca.1961	mm.1-4	African American, man	http://adale.org/Discographies/RedPlanet.jpg	https://jazztranscriptions.files.wordpress.com/2014/01/johncoltrane-milesmode.pdf	https://www.youtube.com/watch?v=1mZ8F1Y56Gg	The head contains a row (P11 <e24168970t53>) and its retrograde (R11 <35t07986142e>), but is not a thoroughly twelve-tone composition. Was probably composed by Eric Dolphy: http://adale.org/Discographies/RedPlanet.html	https://uebergreifen.blogspot.com/2012/08/the-red-planet-miles-mode.html
27		Ordering and 12-counting	Hale Smith	Evocation	1966	throughout	African American, man	https://www.sheetmusicplus.com/title/evocation-sheet-music/1009706		https://www.youtube.com/watch?v=KG79Gde6_sw	Terrific, short piano solo with clear segmentation and consistent use of a handful of row forms.	https://www.jstor.org/stable/25164559
28		Hexachordal Combinatoriality
29		Segmental Subsets
30		Invariance
31		Derived Rows
32		Rotational Arrays
33		Trichordal Arrays
34		Total Serialism
35	Contemporary Tonality	Tonal borrowing
36	Contemporary Tonality	Tonality as Topic	Dorothy Rudd Moore	"O Black and Unknown Bards" from The Dark Tower (no. 1)	1970	throughout	African American, Woman	http://www.worldcat.org/oclc/1139321752		https://www.youtube.com/watch?v=GRuJ6dtEFDw	(note, the recording has errors); could spend an entire class of post-tonal harmony on this song; would be a great group analysis project for later in the semester; based on a famous text with lots to interpret; good final analysis paper example
37	Minimalism	--	Julius Eastman	"Stay On It"	1973	throughout	Black, LGBTQ+	https://issuu.com/scoresondemand/docs/stay_on_it_aws_57872		https://youtu.be/e_YauvN9UE4	There is also an existing transcription of a realization by Mary Jane Leach of ThingNY's 2005 recording. Dead link on her site here: http://www.mjleach.com/EastmanScores.htm but there are copies floating around. I'm unsure of the legal status of this transcription.	The issuu score is a performance transcription made by the group Alarm Will Sound based on extant video and recordings of Eastman's ensembles performing the work. This piece makes an excellent example for questioning the performance tradition of a work that only exists in oral transmission, and for which no original parts exist (similar issues exist for pieces such as Reich's Music For 18 Musicians, however, Reich eventually approved a performance score during his lifetime. Eastman never was able to -- questioning why Reich had this opportunity is another great moment to talk about white privilege and access to resources in new music circles). A fantastic book chapter on the subject of how to perform a work that only exists via memory, audio and video recordings is Matthew Mendez, "'That Piece Does Not Exist Without Julius': Still Staying on Stay On It," in Gay Guerrilla: Julius Eastman and His Music, ed. Renée Levine Packer and Mary Jane Leach,151-78 (Rochester, NY: Boydell & Brewer, 2015).
38	Minimalism	Phasing
39	Spectralism	--
40	Virtuosity		Joseph White (José Silvestre White Lafitte)	Zamacueca, Op. 30 (for violin and piano)	1897	entire piece	Afro-Cuban	https://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)		https://www.youtube.com/watch?v=TgG-5R2ICOk	virtuosic showpiece for violin; techniques include double stops, left hand pizz, artificial harmonics, ricochet
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	A	B	C	D	E	F	G	H	I	J	K	L	M
1	INSTRUCTIONS -- The goal here is to assemble a repository of examples by composers of color for use in the theory and aural skills curriculum. Feel free to add examples under any of the existing topics, or to add other relevant topics wherever you see fit. Notes are appreciated -- good notes will identify whether an example is straightforward (i.e. teach on day one) or more complicated (i.e. good for a homework assignment), and whether a piece would be useful for whole class discussion (i.e. "this piece uses many inversions of V7 and has a transparent texture that would make it accessible for extended analysis in a theory 1 class; discussion might address the use of cadential six-four in the expansion of the consequent"). If a PD score is not available, please provide a worldcat link to a published edition if possible. PLEASE NOTE: ADDITIONAL TOPICS ARE IN SEPARATE SHEETS (SEE THE BOTTOM OF THE PAGE)										49 examples so far!
2	Unit	Topic	Subtopic	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)

3	Meter and Rhythm	Simple Meter		Francis Johnson	A Collection of New Cotillons	1818	Mvts. 1–4, 6–8	African American, man	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
4				Joseph Bologne, Chevalier de Saint-Georges	Sonata for Harp & Flute in Eflat Major: I. Andante	n/d	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/Sonata_for_Flute_and_Harp_in_E-flat_major_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=ym_KSqVM2EI	2/4
5				Joseph Bologne, Chevalier de Saint-Georges	Sonata for Harp & Flute in Eflat Major: III. Rondeau	n/d	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/Sonata_for_Flute_and_Harp_in_E-flat_major_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=ym_KSqVM2EI	2/4
6				Joseph Bologne, Chevalier de Saint-Georges	Sonata for Harp & Flute in Eflat Major: II. Tempo di Minuetto	n/d	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/Sonata_for_Flute_and_Harp_in_E-flat_major_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=ym_KSqVM2EI	3/4 (Minuet)
7				Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 1: II. Tempo di Menuetto	c. 1770	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)		https://www.youtube.com/watch?v=pvkgFel7SIU	3/4 (Minuet)
8				Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)			4/4
9				Francis Johnson	Victoria Gallop	ca. 1839	throughout	African American, man	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)
10				Eugene Dédé	Buenas Noches!	1893	Minuet	Creole	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			good example for listening for difference between simple and compound meter: Minuet is 2/4 and Trio is 6/8
11		Compound Meter		Francis Johnson	A Collection of New Cotillons	1818	Mvts. 5, 9–12	African American, man	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
12		Compound Meter		Margaret Bonds	Dream Variation (from Three Dream Portraits, no. 2)	1959	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=vqp8_uLyieA	clear 12/8 example for listening or in-class analysis
13		Good Examples for Meter Comparisons or Meter ID		Isaac Hazzard	Terpsichore	1836	all	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			set of quadrilles; use a variety of meters and different characteristic rhythms; nice also for discussing different keyboard accompaniment textures and figuration patterns; note also that each piece includes either dance steps or indicates a specific dance
14		Good Examples for Meter Comparisons or Meter ID		Eugène Dédé	Buenas Noches!	1893	Trio	Creole	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			good example for listening for difference between simple and compound meter: Minuet is 2/4 and Trio is 6/8
15		Asymmetrical Meters	5/4	Aaron Connor (Conner) (d. 1850)	Valse a cinq temps	1847	throughout	African-American, man	available for purchase here: http://www.amaranthpublishing.com/AfricanAmericanComposers.html			in 5/4 throughout (3+2)
16			5/8
17			7/8	Coleridge-Taylor Perkinson	Ubique	unknown	throughout	African-American	in The Second Anthology of Art Songs by African American Composers: https://www.worldcat.org/title/51238723		recording included with the score	7/8 throughout with occasional 8/8 interpoluations
18		Changing Meters	Mixed Simple Meters	Samuel Coleridge-Taylor	"Too late for love" (from Six Sorrow Songs), Op. 57, no. 6	1906	throughout	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/openscore-lieder-corpus/coleridge-taylor-samuel-6-sorrow-songs-op-57-no-6-too-late-for-love	Recording Needed	irregular alternation of 3/4 and 4/4 throughout
19				Coleridge-Taylor Perkinson	String Quartet no. 1 ("Calvary"), mvt. i	1956	enitre piece	African-American	non PD: http://www.worldcat.org/oclc/969455183		https://youtu.be/5BnlqUu_x1U?t=140	shifts between 3/4, 4/4, 5/4, 6/4
20				Julia Perry	Miniature for Piano	1972	entire piece	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1			mixes 3/4, 4/4, and 5/4 throughout; would be outstanding for sophomore aural skills (mostly running sixteenth notes with occasional eighth-note triplets; then gets progressively harder; great choose-your-own-difficulty-level options based on RH and LH interaction
21				George Walker	Lament (for voice and piano)	1975	throughout	African American, man	non-PD; available for purchase (or in your library)		https://www.youtube.com/watch?v=tZ5auzpQ0kg	alternates 5/4 and 4/4
22			Mixed Simple and Compound Meters	Carlos Chávez	Sinfonía India	1935–6	throughout	Mexican, man	perusal score		https://www.youtube.com/watch?v=PMJOblb2nbg	mixed meters throughout; many asymmetrical, regularly mixes 5/8 and 2/4
23				Joseph White (José Silvestre White Lafitte)	Zamacueca, Op. 30 (for violin and piano)	1897	last page	Afro-Cuban	https://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)		https://www.youtube.com/watch?v=TgG-5R2ICOk	alternates 3/4 and 6/8
24				Undine Smith Moore	Love Let the Wind Cry --- How I Adore Thee	1961	throughout, especially mm. 14–21	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=jbhvq59P744	great example for advanced aural skills (level 3-ish?) - meter changes every bar with a mix of different tuplets, syncopations, etc.
25		Polymeter		Irlando Maky López	Adios Guapi	2006	throughout				https://www.youtube.com/watch?v=RozQEJGpDIo&ab_channel=SonidosPac%C3%ADficos	0:00-0:11 between two marimba registers, 0:33-1:00 between ensemble and singers
26		Anacrusis
27		Hemiola	2:3 Grouping Dissonance	Chiquinha Gonzaga	Harmonia das Esfera	1881	C section (p. 3)	Brazilian woman	https://imslp.org/wiki/Harmonia_das_esferas_(Gonzaga,_Chiquinha)			clear 2:3 grouping dissonance with boom-chk-chk LH (in 3/4) paired with duple groupings in RH, marked with accents and contour changes
28			2:3 Grouping Dissonance	Irlando Maky López	Adios Guapi	2006	throughout				https://www.youtube.com/watch?v=RozQEJGpDIo&ab_channel=SonidosPac%C3%ADficos	0:00-0:33 within lower marimba ostinato
29			3/4 vs. 6/8 ambiguity	Harry T. Burleigh	"Till I Wake" from Five Songs from Laurence Hope	1915	throughout	Black man	https://ks.imslp.net/files/imglnks/usimg/1/15/IMSLP238246-SIBLEY1802.22256.fe75-39087012077337score.pdf	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=qVNmSQm3BGM	compare accompaniment and vocal entry
30		Syncopation	Eighth-Note Level	Antonio Carlos Jobim	One Note Samba	1960	throughout	Brazilian	in most fake books		https://www.youtube.com/watch?v=0rzNLXxo01Q	nice for ear training because pitch is not an issue; also a great ear training example because many recordings treat the rhythms flexibly (can use as starting point for discussion about prescriptive vs. descriptive notation, or for an "error detection" exercise)
31				Eugène Dédé	Buenas Noches!	1893	Minuet, mm. 10-33	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)
32				Scott Joplin	The Cascades	1904	throughout	African American	https://imslp.org/wiki/The_Cascades_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=FSnD1tZ_AFQ	syncopation characteristic of ragtime throughout	Kleppinger, Stanley, "On the Influence of Jazz Rhythm in the Music of Aaron Copland," American Music 21, no. 1 (2003): 74–111
33				Florence Price	My Soul's Been Anchored in the Lord	1937	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=5peJh_lhNJE
34				Undine Smith Moore	Come Down Angels	1978	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	verse and chorus have different syncopation structures; good for sight singing, prepared melody, or dictation; also possible to do "error detection" style exercises with different recordings
35			Sixteenth-Note Level	Bill Withers	"Ain't No Sunshine"	1971	all	African American, man	non-PD (in some real books)		https://www.youtube.com/watch?v=5PeyzXvvdmw	good dictation exercise or rhythm performance task for sixteenth-note syncopation
36			Sixteenth-Note Level	Bob Cole	The Katy-did, the Cricket and the Frog	1903	throughout	African American	https://imslp.org/wiki/The_Katy-did%2C_the_Cricket_and_the_Frog_(Cole%2C_Bob)			simple examples of both eighth-note and sixteenth-note syncopation throughout
37		Hypermeter	Groupings of 2	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American, man	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
38			Groupings of 2	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	mm. 13-42	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)			Multiple 2-measure ideas (BI-like). Can create 2-measure hypermeter.
39			Groupings of 3
40			Groupings of 4	José Maurîcio Nunes Garcia	No momento da partida meu coração t'entreguei (M238)	n.d. (Garcia's dates are 1767–1830)	entire song	Brazilian	https://imslp.org/wiki/No_momento_da_partida_meu_cora%C3%A7%C3%A3o_t'entreguei%2C_M_238_(Garcia%2C_Jos%C3%A9_Maur%C3%ADcio_Nunes)		https://www.youtube.com/watch?v=mMPSvw3uLe0	strict 4+4 hypermeter throughout
41			Groupings of 4	Will Marion Cook	Cruel Papa	1914	throughout	African American, man	https://imslp.org/wiki/Cruel_Papa!_(Cook%2C_Will_Marion)		https://www.youtube.com/watch?v=3bKVijr3S-I	fox trot; strict 8-bar units throughout
42			Hypermetric Disruption	Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	entire song	African American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	irregular poem (4+5 lines) manifests in interesting hypermetric disruptions, these connect back to the themes of the poem (temptation and longing) and are treated differently in the two verses; would make a rich piece for discussion for an entire class period
43		Phrase Rhythm	Symmetrical Groupings	Francis Johnson	A Collection of New Cotillons	1818	throughout	African American, man	https://imslp.org/wiki/Special:ImagefromIndex/632702/hfin	https://imslp.org/wiki/A_Collection_of_New_Cotillons_(Johnson%2C_Francis)
44				Eugène Dédé	Buenas Noches!	1893	Minuet, mm. 10-33	Creole, man	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			Groups of 4 throughout
45				Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Throughout	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
46				Florence Price	Ticklin' Toes	1933	throughout	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA	clear four and eight measure phrases throughout (melody is especially clear) but harmonic support varies from phrase to phrase; it might be interesting for students to compare parallel phrases; also not all phrases end with cadences, so could yield discussion about closure without cadence
47			Asymmetrical Groupings	Samuel Coleridge-Taylor	"When I am dead, my dearest" (from Six Sorrow Songs), Op. 57, no. 2	1906	all	Afro-European, man	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)	https://musescore.com/user/27638568/scores/6189644	https://www.youtube.com/watch?v=jsOycArSa1E	phrase rhythm is 3+3+4+4 throughout
48		Metric Dissonance	Grouping Dissonances	Muhal Richard Abrams	"Soprano Song"	1987	B section	African American, male	https://www.dropbox.com/s/3k9o9pqpa9v2u3p/Soprano%20Song.pdf?dl=0			Transcription by Marc Hannaford
49			Grouping Dissonances	Florence Price	Song to the Dark Virgin	1941	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	3 against 4 throughout (piano has sixteenth notes and voice has frequent eighth note triplets alternating with straight eighth notes and occasional dotted eighth-sixteenth pairs); would be a good rhythm excercise for aural skills (clap piano rhythm and speak or sing melody)
50			Displacement Dissonances	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Theme beginning at mm. 59	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)			Theme is not syncopated but accent could be heard as occurring on beat 2
51		Metric Modulation	-	Dolores White	Las Tarantulas (cello and piano)	1992	throughout	African American, Woman	in Black Women Composers: Twentieth Century Music for Piano and Strings		https://www.youtube.com/watch?v=5GKqeMiCZuk	transition from A section to B section
52		Ear Training Topics	Small Note Values
53			Large Note Values	Joseph Bologne, Chevalier de Saint-Georges	Violin Sonata Op. 1a No. 2: I. Allegro Moderato	c. 1770	Theme at m. 33	Afro-European, caribbean heritage, man	https://imslp.org/wiki/3_Violin_Sonatas%2C_Op.1a_(Saint-Georges%2C_Joseph_Bologne)
54			Eighth-Note Triplets	Florence Price	Suite no. 1 for Organ, mvt. 1 (Fantasy)	1942	throughout	African American, Woman	http://www.worldcat.org/oclc/1120772450		https://www.youtube.com/watch?v=RzWH37Jlrek	great ear training example for practicing the difference between eight-sixteenth-sixteenth and eighth note triplets, and for switching between triplets, eighths, and sixteenths
55			Sixteenth-Note Triplets	Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	mm. 142ff.	Afro-European, man	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)			mix of sixteenth note triplets and regular sixteenth notes
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	A	B	C	D	E	F	G	H	I	J	K	L
1	This page highlights examples (found throughout this database) that have been marked as good ear training examples. Please refer to the other tabs, our humanities commons page, etc. for more details. They're divided into melody/harmony vs. rhythm/meter topics, and organized loosely according to difficulty level (sample first-year topics: diatonic harmony, diatonic modulation, modal mixture, simple and compound meter, eighth-note syncopation; sample second-year topics: chromatic harmony, chromatic figuration, mixed meters, sixteenth-note syncopation, collections, atonal topics, etc.)									45 examples so far!
2	Type of Example	Difficulty Level	Composer (include bio link)	Title	Date	Example Measure/Timing	Identity (gender, race, LGBTQ+, disability, etc.)	Score Link	Engraving Link	Recording Link	Notes	Related scholarship (whether including analysis or otherwise)
3	Harmomy and Melody Topics	First-Year	Undine Smith Moore	Come Down Angels	1978	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	great for aural skills classes: melody arpeggiates I and V7 (well, really viiØ7) throughout; good for listening and analysis too though there is a tonic pedal under much of the dominant, but good for hearing the difference between prolongational and cadential dominants
4			Francis Johnson	Victoria Gallop	1839?	throughout	African American	https://imslp.org/wiki/Special:ImagefromIndex/632405/hfin	https://imslp.org/wiki/Victoria_Gallop_(Johnson%2C_Francis)	https://www.youtube.com/watch?v=nD7_y0ucv9U	exclusively I and V; suitable for harmonic dictation for first semester students
5			Isaac Hazzard	Amanda, from Terpsichore	1836	C section	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			good for listening for I and V
6			Scott Joplin	Combination March	1896	throughout	African-American	https://imslp.org/wiki/Combination_March_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=SXYMyBJwzz0	good exercsize for hearing and/or analyzing T, PD, and D functions; class discussion might include changing distribution of harmonies between each section, changing harmonic rhythm, etc., rhetorical effect of departing from the straightforward harmonies at the beginning of each section to the more complex ones later on
7			Isaac Hazzard	Henrietta, from Terpsichore	1836	entire piece	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			good for listening to T, D, and PD function, though with weak bass motion; possible assigment -- "imagine you are the bass player and you're meant to improvise a bass line based on this melody; fill in the chord roots" (improvised or prepared)
8			Harry T. Burleigh	"Till I Wake" from Five Songs of Laurence Hope	1915	mm. 7–17	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=qVNmSQm3BGM	excellent bass line/harmonic dictation for inversions of V7 (i-V65-i-V43-i6-V43-i6-V42-i6)
9			Joseph White (José Silvestre White Lafitte)	Zamacueca, Op. 30 (for violin and piano)	1897	throughout	Afro-Cuban	https://imslp.org/wiki/Zamacueca%2C_Op.30_(White%2C_Joseph)		https://www.youtube.com/watch?v=TgG-5R2ICOk	lots of tonic and dominant alternation, with some secondary dominants and passing 6/4 chords; would make a great listening example for tonic and dominant function; discussion questions: how might a composer create variety in a piece that primarily focuses on tonic and dominant? (opens discussion to aspects like instrumental techniques, relationship to dance, etc.
10			Scott Joplin	Augustan Club Waltz	1901	throughout	African-American	https://imslp.org/wiki/Augustan_Club_Waltz_(Joplin%2C_Scott)		https://www.youtube.com/watch?v=haQLEMN3WX8	good for listening to and analyzing T, PD, and D; also the possibility of a more subtle discussion of ii6 vs. IV (mm. 37ff.)
11			Lin-Manuel Miranda and Opetiaia Foa'i	We Know the Way (from Moana)	2016	throughout	Puerto Rican American / Pacific Islander			https://www.youtube.com/watch?v=ubZrAmRxy_M	great listening exercise for introducing T, PD, D functions. Also a good example to discuss colonialism since these functions are being used to represent the voices of Pacific islanders who clearly would not have used Western harmonic functions given the context depicted in the film. Rich potential for discussion of ideology, power, and musical structure.
12			Florence Price	Ticklin' Toes	1933	throughout	African American, Woman	https://imslp.org/wiki/Ticklin'_Toes_(Price%2C_Florence)		https://www.youtube.com/watch?v=n_4gTDdvkeA	clear descending mostly diatonc bass line, clear and exposed in the bass clef (descent also varies each phrase); would be good bass line dictation for aural skills
13			Julia Perry	"I'm a Poor Little Orphan" (spiritual arrangement)	1952	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=D6fQctPhHwQ	second page -- duet between voice and piano (also a good duet for first-semester aural skills)
14			Betty Jackson King	In the Springtime	1976	m. 33	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7tXwnhS5djM	tonic and dominant arpeggiation but otherwise mostly stepwise diatonic melody
15			Samuel Coleridge-Taylor	"My Love," from Southern Love Songs, Op. 12, no. 1	1896	entire piece	Afro-European	https://imslp.org/wiki/Southern_Love_Songs%2C_Op.12_(Coleridge-Taylor%2C_Samuel)			diatonic melody suitable for aural skills 1, with diatonic leaps and dominant arpeggiations
16			Samuel Coleridge-Taylor	"A Tale," Hiawathan Sketches, Op. 16, no. 1	1896	mm. 3–16	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			tricky but tuneful minor-mode melody; totally diatonic but with some tricky leaps, as well as lots of leaps to ^4 and ^6
17			Samuel Coleridge-Taylor	"A Song," Hiawathan Sketches, Op. 16, no. 2	1896	A section	Afro-European	https://imslp.org/wiki/Hiawathan_Sketches%2C_Op.16_(Coleridge-Taylor%2C_Samuel)			nice minor-mode sight singing example with skips to ^6 (opportunity to talk about exoticism here)
18			Samuel Coleridge-Taylor	African Dances, Op. 58, no. 2	1904	mm. 13ff.	Afro-European	https://imslp.org/wiki/4_African_Dances%2C_Op.58_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=j5Kl3jRWmQU	terrific for introducing fi (#4) (used as an incomplete CLN); see also lots of CLNs after m. 37; also great practice for eighth note triplets vs. straight eighths and sixteenths
19			R. Nathaniel Dett	Cinnamon Grove, mvt. ii (Adagio Cantabile)	1923	entire piece	Black Canadian-American	https://imslp.org/wiki/Cinnamon_Grove_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=K7_S0CL51HA	Lovely singable tune; melody is diatonic for most of the movement (with lush chromatic harmonization), final few phrases add b6 and chromatic passing tones; nice to make the transition to chromaticism
20			Isaac Hazzard	Susana, from Terpsichore	1836	throughout	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			singable chromatic figuration throughout, combined with large leaps (ascending sixths and octaves); students seeking more of a challenge could focus on the B section, which includes descending seventh leaps (great opportunities in this melody to teach octave displacement as a sight-singing strategy); also a good example for listening for T and D, and for inversions
21			R. Nathaniel Dett	Magnolias (from Magnolia Suite)	1912	throughout	Black Canadian-American	https://imslp.org/wiki/Magnolia_(Dett%2C_Robert_Nathaniel)		https://www.youtube.com/watch?v=dTgZvc2TPo8	A section (mm. 1–16) is a clear parallel period (HC-PAC) with lots of rich, complicated harmony and beautiful appogiaturas; also singable and would be a good singing or dictation example for an intermediate-level aural skills class
22			Samuel Coleridge-Taylor	"Roses for the Flush of Youth" (from Six Sorrow Songs, no. 3)	1906	entire piece	Afro-European	https://imslp.org/wiki/6_Sorrow_Songs%2C_Op.57_(Coleridge-Taylor%2C_Samuel)			minor mode melody with chromatic lower neighbors and tricky leaps
23			Samuel Coleridge-Taylor	African Dances, Op. 58, no. 2	1904	entire piece	Afro-European	https://imslp.org/wiki/4_African_Dances%2C_Op.58_(Coleridge-Taylor%2C_Samuel)		https://www.youtube.com/watch?v=j5Kl3jRWmQU	nice examples of chromatic lower neighbors throughout (and with clear chordal harmony in piano for context); several excellent passages for an aural skills class
24			Julia Perry	How Beautiful are the Feet	1954	mm. 13–32, 53–56	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1		https://www.youtube.com/watch?v=HO6En6TGjEY	modal mixture: diatonic melody in CM followed by clear, accessible mixture in the B section; would be a great example for an aural skills class
25			Samuel Coleridge-Taylor	Sweet evenings come and go, love	1899	entire piece	Afro-European, man	https://ks.imslp.net/files/imglnks/usimg/3/3d/IMSLP23610-PMLP53834-Sweet_Evenings_Come_and_Go,_Love.pdf		https://www.youtube.com/watch?v=vj7vR1Tt1Zo	nice example for modal mixture -- strophic but each verse is in a different key (FM-fm-AbM-FM) with some different CPD harmonies and chromatic passing tones in each verse
26		Second-Year	Florence Price	"Night"	1946	throughout	African-American, Woman	non-PD: http://www.worldcat.org/oclc/1027679735		https://www.youtube.com/watch?v=ik9pq_BOBlA	harmonically rich and complex; great singing example for chromatic melodies in aural skills; suitable for dictation
27			Harry T. Burleigh	"The Jungle Flower"	1915	mm 7–8, 14–15	Black	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=1C4OoGhKu4Q	includes some terrific chromatic harmony in the B section, and would be a good sight singing challenge for second-year students
28			Dolores White	Las Tarantulas (cello and piano)	1992	throughout	African American, Woman	in Black Women Composers: Twentieth Century Music for Piano and Strings		https://www.youtube.com/watch?v=5GKqeMiCZuk	abundant chromatic passing tones; would make a challenging aural skills example
29			Chiquinha Gonzaga	Sospiro	ca. 1881	throughout	Brazilian, Woman	https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)		https://imslp.org/wiki/Sospiro_(Gonzaga%2C_Chiquinha)	tango -- tons of incomplete chromatic lower neighbors (especially #4-5) -- a brutal (but productive) exercise for aural skills!
30			Harry Burleigh	"Among the Fuchsias" (from Five Songs of Laurence Hope, no. 4)	1915	entire piece	African American	https://imslp.org/wiki/5_Songs_of_Laurence_Hope_(Burleigh%2C_Harry_Thacker)	https://musescore.com/user/27638568/sets/5104071	https://www.youtube.com/watch?v=yYBAkPj5D3w	tricky but tuneful melody with chromatic leaps and chromatic scale segments; great exercise for hearing and/or singing Fr6; would make a good dictation or singing exercise
31			William Grant Still	Idolatry (from Songs of Separation)	1949	mm. 16–end	African-American	non-PD; available in your library		https://www.youtube.com/watch?v=EbmKvh6XIdI	final section explores different hexatonic collections and emphasizes individual augmented triads; great singing or listening example for hearing augmented triad (clearly outlined in melody); song also uses octatonicism and Dorian #4	https://www.jstor.org/stable/779291
32			William Grant Still	Poème (from Songs of Separation)	1949	mm. 8–13 (most of the song)	African-American	non-PD; available in your library		https://www.youtube.com/watch?v=aPUPiXOO83Q	short song; plays with contrast between diatonic and octatonic collections; clearly audible and a great teaching example; would be excellent for an aural skills class (students could learn to sing the whole melody a cappella, and could also work on singing the upper voice in the piano in mm. 8–13 (octatonic scale))
33			Undine Smith Moore	Is There Anybody Here that Loves my Jesus	1981	mm. 5–12 (and throughout)	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=X8yRzsFfvM4	much of the melody is pentatonic; would be a good singing example for aural skills students as well; possible discussion topic is how shift to diatonicism for the verse (at m. 17) signals shift towards a more concert idiom (new pianistic texture and harmonization)
34			Undine Smith Moore	"I Am in Doubt"	1975	mm. 19–21, bassline mm. 1–5	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=FjGV8rHU4Ro	bursts of Phrygian scale segments combined with diatonic segments, [027], and a single WT collection; suitable/excellent for atonal aural skills
35	Rhythm and Meter Topics	First-Year	Margaret Bonds	Dream Variation (from Three Dream Portraits, no. 2)	1959	throughout	African-American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=vqp8_uLyieA	clear 12/8 example for listening or in-class analysis
36			Eugène Dédé	Buenas Noches!	1893	Trio	Creole	https://imslp.org/wiki/Buenas_noches%2C_Op.243_(D%C3%A9d%C3%A9%2C_Eug%C3%A8ne)			good example for listening for difference between simple and compound meter: Minuet is 2/4 and Trio is 6/8
37			Isaac Hazzard	Elisabeth, from Terpsichore	1836	entire piece	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			good ear training example for 6/8 meter: most quarter note and eighth note 6/8 idioms are present, as well as simple idioms involving sixteenth notes
38			Isaac Hazzard	Amanda, from Terpsichore	1836	entire piece	African-American	at the LOC: https://www.loc.gov/resource/sm1836.010710.0?st=gallery also available for purchase (or in your library): http://www.amaranthpublishing.com/AfricanAmericanComposers.html			eighth note syncopation! -- nice example because LH is just playing the pulse; students could clap LH and speak RH, melody is singable for first-semester students, and with notated articulations you can discuss different ways of performing the syncopation to communicate the meter successfully; would be great to pair with Mazurka rhythm
39			Antonio Carlos Jobim	One Note Samba	1960	throughout	Brazilian	in most fake books		https://www.youtube.com/watch?v=0rzNLXxo01Q	syncopated eighth notes; nice for ear training because pitch is not an issue; also a great ear training example because many recordings treat the rhythms flexibly (can use as starting point for discussion about prescriptive vs. descriptive notation, or for an "error detection" exercise)
40			Undine Smith Moore	Come Down Angels	1978	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=7XABTl-iPGw	syncopated eighth notes; verse and chorus have different syncopation structures; good for sight singing, prepared melody, or dictation; also possible to do "error detection" style exercises with different recordings
41			Florence Price	Suite no. 1 for Organ, mvt. 1 (Fantasy)	1942	throughout	African American, Woman	http://www.worldcat.org/oclc/1120772450		https://www.youtube.com/watch?v=RzWH37Jlrek	triplets: great ear training example for practicing the difference between eight-sixteenth-sixteenth and eighth note triplets, and for switching between triplets, eighths, and sixteenths
42			R. Nathaniel Dett	Ramah	1923	throughout	Black Canadian-American	https://imslp.org/wiki/Ramah_(Dett%2C_Robert_Nathaniel)			mix of eighth note triplets and sixteenth notes
43			Samuel Coleridge-Taylor	"Merry-Making" Op. 9, no. 2	1896	mm. 142ff. (p.10 at double bar)	Afro-European	https://imslp.org/wiki/2_Romantic_Pieces%2C_Op.9_(Coleridge-Taylor%2C_Samuel)			violin part has a mix of sixteenth-note triplets, straight sixteenths, and quarter-note triplets; good singing or dictation exercise; also some two-against-trhee if you add in the keyboard part (strong students could clap the piano rhythm while speaking or singing the violin part for an extra challenge)
44		Second-Year	Bill Withers	"Ain't No Sunshine"	1971	all	African American, man	non-PD (in some real books)		https://www.youtube.com/watch?v=5PeyzXvvdmw	good dictation exercise or rhythm performance task for sixteenth-note syncopation
45			Undine Smith Moore	Love Let the Wind Cry --- How I Adore Thee	1961	throughout, especially mm. 14–21	Woman, African-American	non-PD, available in Anthology of Art Songs by Black American Composers		https://www.youtube.com/watch?v=jbhvq59P744	great example for advanced aural skills (level 3-ish?) - meter changes every bar with a mix of different tuplets, syncopations, etc.
46			Julia Perry	Miniature for Piano	1972	entire piece	African-American, Woman	https://hcommons.org/groups/julia-perry-working-group/documents/?page=1			mixes 3/4, 4/4, and 5/4 throughout; would be outstanding for sophomore aural skills (mostly running sixteenth notes with occasional eighth-note triplets; then gets progressively harder; great choose-your-own-difficulty-level options based on RH and LH interaction
47			Florence Price	Song to the Dark Virgin	1941	throughout	African American, Woman	in Art Songs and Spirituals by African American Women Composers, ed. Vivian Taylor		https://www.youtube.com/watch?v=u9qTZUN520c	3 against 4 throughout (piano has sixteenth notes and voice has frequent eighth note triplets alternating with straight eighth notes and occasional dotted eighth-sixteenth pairs); would be a good rhythm excercise for aural skills (clap piano rhythm and speak or sing melody)