Charles Horton is Associate Dean of the Desautels Faculty of Music at the University of Manitoba, where as Associate Professor of Music (now retired) he taught music theory, music history, counterpoint, analysis, chamber music and piano. He has appeared in concert in Canada, the United States and Europe in solo recitals, chamber music concerts and concerto performances; his teachers have included Alexandra Pierce, Marvin Blickenstaff, Jeanneane Dowis and Jerome Lowenthal. He is the founding music director (1997) of All The King's Men, Winnipeg's male-voice liturgical choir; the choir has undertaken six English cathedral tours, most recently for residencies at Worcester and Exeter Cathedrals. He is a founding member of the Society for Music Theory and a former co-editor of In Theory Only.

David A. Byrne is Assistant Professor of Music Theory in the Desautels Faculty of Music at the University of Manitoba, where he teaches music theory and orchestration. He earned a Ph.D. in music theory from the University of Cincinnati, with a dissertation on the harmonic theories of Sigfrid Karg-Elert. His research encompasses the history of theory in the early twentieth century, transformational models of chromatic harmony, and the analysis of symphonic form. His work is published in Music Research Forum, and he has presented at many conferences including the Society for Music Theory, the Society for Music Analysis, and the International Conference on Nineteenth-Century Music. In addition to his teaching and research in music theory, he is a clarinetist, conductor and arranger.

Lawrence Ritchey (1939 - 2006) was Associate Professor of Music in the Desautels Faculty of Music at the University of Manitoba and a Senior Fellow at St. John's College; he taught music theory, jazz history, organ, and harpsichord. He appeared in concert in Canada, the United States and Europe; his frequent performances included solo recitals, concerto performances, continuo playing and collaborations with singers in performances of American popular song and jazz. He teachers included Arthur Poister and Marcel Dupré. He served as chair of the editorial board of the interdisciplinary journal, Mosaic, and was organist and choirmaster of St. John's Anglican Cathedral in Winnipeg.

Part I - Fundamentals
1. Musical Sound and Its Notation
2. Scale and Intervals
3. Modes and Keys
4. Rhythm and Meter

Part II - Modality: Melody and Harmony
5. Melodic Design
6. Duple Paraphrase
7. Harmonic Framework
8. Chordal Succession

Part III - Vocal Melody and Counterpoint
9. Melodic Dialogue
10. Triple Paraphrase
11. Vocal Duet

Part IV - Diatonic Harmony and Tonicization
12. Tonic Confirmation
13. Suspensions and Syncopations
14. Tonicization
15. Elaborating the Lower Voices
16. The Chorale

Part V - Instrumental Melody and Counterpoint
17. Quadruple Paraphrase
18. Instrumental Duet
19. Elaborating the Soprano
20. Accompanied Melody
21. Diatonic Sequence
22. The Minuet

Part VI - Chromatic Harmony and Form
23. Primary Mixture
24. Intensifying the Dominant
25. Intensifying the Tonic
26. Formal Modulation
27. Chromatic Sequence
28. Secondary Mixture
29. The Romance

Part VII - Extensions of Chromatic Tonality
30. Enharmonics
31. Extended Voice-Leading Techniques
32. Twentieth Century Melody