• 16.1 Define and Identify tendency tones in major and minor keys
• 16.2 Define the concept of chordal dissonance, and when it is acceptable in 18th century counterpoint
• 16.3 Identify, label, and notate proper resolutions of chordal dissonance in 18th century counterpoint
• 16.4 Identify strengths and weaknesses of 18th century counterpoint
• 17.1: Define SATB writing, and Properly notate Staff, clefs, and stems for SATB writing
• 17.2: Define, identify, and notate acceptable ranges for the different SATB voices
• 17.3  Define, identify, and notate acceptable spacing for SATB writing
• 17.4  Define, identify, and notate voice-overlapping and voice-crossing errors in SATB writing
• 17.5  Define, identify, and notate correct doubling rules of triads for SATB writing
• 17.6  Define, Identify, Label, and Notate the following types of cadences (PAC, IAC, HC) in music exercises and real music examples
• 17.7 Correctly notate the resolution of a V (of any inversion) to I chord following proper voice leading rules
• 17.8 Correctly notate the resolution of a V7 (of any inversion) to I chord following proper voice leading rules
• 18.1: Correctly realize (notate) figured bass given the bass note, key, and figures
• 18.2: Define, identify, and label Tonic area and Dominant area in terms of harmonic function
• 18.3: Define, identify, and label Predominant area in terms of harmonic function
• 18.4 Label Tonic, Predominant, and Dominant function (as a contextual analysis) of real music examples
• 18.5 Correctly notate proper voice leading of ii-V7 and IV-V7 as well as ii7-V7 and IV7-V7
• 18.6 Define, identify, and label a transferred resolution
• 19.1: Define and label the Cadential 6/4 in music exercises, and identify in real music examples
• 19.2: Define and label the Neighbor/Pedal 6/4 in music exercises, and identify in real music examples
• 19.3: Define and label the Arpeggiating 6/4 in music exercises, and identify in real music examples
• 19.4: Define and label the Passing 6/4 in music exercises, and identify in real music examples
• 19.5: Identify all 4 types of 6/4 chords in music exercises and in real music examples
• 19.6: Define and identify the ii and vi as a predominant substitute and tonic substitute, respectively, in terms of function, and identify Tonic, Predominant, Dominant functions utilizing these chords (I, ii, IV, V, vi) in real music examples
• 19.7: Identify Tonic, Predominant, Dominant functions utilizing all Roman numerals including 6/4 chords in real music examples
• 20.1: Define, Identify, Label, and Notate the following types of cadences (Deceptive, Plagal, Phrygian) in music exercises and in real music examples
• 20.2: Identify chords that possess a descending 5th root motion relationship
• 20.3: Identify, and Notate proper voice leading between two chords that are related by descending 5th root motion
• 20.4: Identify chords that possess a descending 3rd root motion relationship
• 20.5: Identify, and Notate proper voice leading between two chords that are related by ascending, or descending, 3rd root motion
• 20.6: Identify chords that possess an ascending 2nd root motion relationship.
• 20.7: Identify, and Notate proper voice leading between two chords that are related by ascending 2nd root motion
• 20.8: Identify Descending 5th root motion, Descending 3rd root motion, and Ascending 2nd root motion in real music examples
• 21.1: Define, Identify, and Label the following embellishments in the context of four-part SATB voicing, Passing Tone, Neighbor Tone, Double Neighbor, and Pedal Point
• 21.2: Define, Identify, and Label the different types of suspensions in the context of four-part SATB voicing (dissonant suspension, consonant suspension, chain of suspensions, double suspension)
• 21.3: Define Identify and Label the following embellishments: retardation and anticipation, in the context of four-part SATB voicing
• 21.4: Define Identify and Label the following embellishments, Appoggiatura, Escape tone, in the context of four-part SATB voicing
• 21.5: Define, Identify, and Label the following embellishments in real music (chorale texture) Passing, Neighbor, Suspensions, Double suspension, Retardation, Passing Tone, Incomplete Neighbor, Appoggiatura, Escape tone, Double Neighbor, Anticipation, Pedal Point
• 23.1: Define what a leading tone chord is, why it can be used as a dominant substitute, and identify leading tone chords of major and minor keys
• 23.2: Identify and notate correct doubling of leading tone triad chords
• 23.3: Identify and notate correct resolutions of leading tone triad chords to the tonic chord
• 23.4: Identify and notate correct resolutions of leading tone seventh chords to the tonic chord
• 24.1: Define musical phrase, subphrase, and motive
• 24.2: Create a chart that accurately diagrams a musical phrase giving measure numbers, key, cadences, and thematic label
• 24.3: Define, notate, and label motivic inversions, augmentation, diminution, extending motives, and truncating motives
• 24.4: Define, identify, and label sentence structure
• 24.5: Define, identify, and label the Period in context of music phrases
• 24.6: Define, identify, chart, and label the following concepts (symmetrical, asymmetrical, parallel, contrasting period)
• 24.7: Define, identify, chart, and label three phrase periods, and double periods
• 25.1: Define, identify, and label melodic sequence
• 25.2: Define, identify, and label diatonic sequence and chromatic sequence
• 25.3 Define, identify, and label Linear-intervallic-pattern
• 25.4 Define, identify, and label harmonic sequence
• 26.1: Define, identify, and label Descending Fifth Harmonic Sequence (with LIP)
• 26.2: Define, identify, and label Descending 3rd Harmonic Sequence (with LIP)
• 26.3: Define, identify, and label LIP and various harmonic sequences in real music examples
• 27.1: Define the terms "applied chord" and secondary dominant
• 27.2: Define tonicization and Modulation
• 27.3: Identify, Notate, and Label secondary dominant chords V/V in any key
• 27.4: Identify and Label secondary dominant chords V/V in real music examples
• 27.5: Notate resolutions of secondary dominant V/V chords with proper voice leading
• 28.1: Identify, Notate, and Label secondary leading tone chords ( vii°/V ) in any key
• 28.2: Identify and Label secondary leading tone chords vii°/V in real music examples
• 28.3: Notate resolutions of secondary leading tone vii°7/V chords with proper voice leading
• 29.1: Identify which chords can be tonicized and which cannot
• 29.2: Identify, Notate, and Label secondary dominant chords other than V/V in any key
• 29.3: Identify and Label secondary dominant chords other than V/V in real music examples
• 29.4: Notate resolutions of secondary dominant other than V/V chords with proper voice leading
• 29.5: Identify, Notate, and Label secondary leading tone chords other than vii/V in any key
• 29.6: Identify and Label secondary leading tone chords other than vii/V in real music examples
• 29.7: Notate resolutions of secondary leading tone other than vii/V chords with proper voice leading