Deltadiatonics Index "Therefore, whenever I theorize, it is less important whether these theories be right than whether they be useful comparisons to clarify the object and to give the study perspective." Schoenberg, Theory of Harmony, pg.19 I Intervals II Triads 1. Classification of Intervals 1. Triadic Analysis- The Four Foundational Triads of Diatonics 2. Intervals-Equal Temperament-Chromatic-I 2. Triadic Inversions 3. Intervals-Equal Temperament Chromatic-II 3. Classifcation of Dyad Intervals and Triads 4. Intervals-Major-Modal Scale 4. Classification of Quartal Triads III Tetrads IV Tonicization 1. Chords of the Seventh with Fifth Analysis 1. Tonicization of the Major Scale 2. Tetradic Analysis in Thirds 2. Tonicization of the Chromatic Scale -I 3. Tetradic Inversions 3. Tonicization of the Chromatic Scale -II 4. Tetradic-Compound Equivalents 4. Tonicization of the Whole-Tone Scale -I 5. Diatonic Tetrad Comparison 5. Tonicization of the Whole-Tone Scale -II 6. Comparitive Structure of Tetrads using 6. Tonicization of the Diminished Scale Polymodal and Fifth Analysis V Secondary Dominants VI Iolydian #5 Scale 1. Secondary Dominant Resolution 1. Evolution of the Iolydian #5 Scale 2. Secondary Dominant Harmony -Major 2. Triads of the Iolydian #5 Scale 3. Secondary Dominant Harmony - Minor 3. Harmonization of the Iolydian #5 Scale 4. Secondary Dominant Harmony-Major & Minor 4. Sequential Chain of Tetrads-Iolydian-Diatonic 5. Secondary Dominant Harmony-Quasi-Bach 5. Sequential Chain of Tetrads- Inversions 6. Secondary Dominant Harmony-Quasi-Chopin 6. Transformations 7. Secondary Dominant Harmony -Quasi-Bill Evans 7. Iolydian #5 Scale, Chords, Arpeggios -Exercise-Analysis 8. Alleluiah, A Chorale Prelude-Application of the Iolydian #5 Scale VII Inspirations from Schoenberg 1. Harmonic Series Analysis 2. FCG Principle VIII Papers 3. FCG Paradox 1. The Limit of Diatonics 4. FCG Principle Triadic & Septadic 2. Tonic, Parallel & Relative Key Relationships 5. Schoenberg Regions 3. Scales in Semi-& Whole-Tones 6. Realization of Schoenberg Regions 4. Derivation of the II-V-I Cadence 7. Deltadiatonic Interval Classification with Schoenberg Regions 5. Polymodal Diatonics 8. Augmentation-Six 6. Derivation of the Augmented Sixth Chord 9. Pentacyclic Neapolitan 7. Derivation of the Neapolitan Sixth Chord 10.Apollonian Evaluation of a Dionysian Epoch 8. Theory-Elementary 11. Schoenberg, The Chart or Regions 9. Theory Basics 12. Deltadaitonic Philosophy 10. Two Handed Scales for Non-Pianists 11. The Tritone,Leading Tone and Dominant IX The Twenty-One Modes X Circle of Fifths & Upper Structures 1. The Seven Modes of the Major Scale 1. Interchangeability of Major and Minor-Bach 2. The Seven modes of the Melodic Minor Scale 2. Interlacing -Bach & Bill Evans 3. The Seven modes of the Harmonic Minor Scale 3. Upper Structures 4. Major Modes Application-Jazz 4. Integer Notation of Circle of Fifths 5. Major Modes Application -Classical 5. Symmetry 6. Melodic Minor Modes Application 6. Diminished as a Rootless V7(b9) 7. Harmonic Minor Modes Application XI The Synthesis of Classical & Jazz 1.The Art of Jazz 6. Quartal Triads-Jazz Application 2. The Art of Jazz- Analysis 7. Quartal Triads -Classical Application 3. The Art of Jazz-Application 8. Bill Evans-Very Early -Analysis 4. Le Fils Des Etoiles-Satie 9. Bill Evans-Very Early II- Analysis with Schoenberg Regions 5. Satie in the Stars- Satie & Di Salvio & c ∑ ∑ ∑.