Music Theory Book

[caters]

So, as I've officially made it to chromatic harmonies, I figured I should tell you guys about this. I'm not sure if this is the right place to post it, but here goes. It all started when someone told me back in August of 2021 that I could probably write a one pager about music theory because of my extensive knowledge. Well, I'm not one for being concise, that just isn't my nature. I told them that I could probably write an entire book on it. They gave me the go ahead. So now, it was up to me as to just how much music theory I wanted to cover. I knew I wanted a more Baroque-Romantic music focus as that's my area of expertise.

I eventually decided to cover Harmony and Form in great depth. Just in case any readers can't read sheet music though, I have a Notation chapter at the start of the book that goes over things like clefs, time signatures, etc. I have a checklist that has everything I'll be going over in my book. The stuff that's crossed out is things I've already gone over. Basically, the large structure of each section is like so:

Harmony
Basics of harmony, like what chords even are, the naming systems for intervals, what extensions work for each seventh chord, inversions and why they don't really apply to ninth chords or larger, very basic stuff
Non-chord tone types
Diatonic Voice Leading
Sections on each diatonic harmony concept
Chromatic Voice Leading
Sections on each chromatic harmony concept
Chord Progressions

Form
Tiny forms(think like a few bars at most)
Small forms
Medium forms
Large forms
Contrapuntal forms i.e. Canon and Fugue(Here I would just be talking the structure, what the difference is between a second subject and a countersubject, things like that, not how to actually write a fugue, as then I'd have to go over what makes a good subject in the first place and that's a very elusive topic I find(and that's just from the composer's viewpoint))

Here's my checklist:
https://docs.google.com/document/d/1KywKkXXp-_SJaQQJwwJWIk_TCJLkCHfIBGBrpvBYwgI/edit?usp=sharing

You might notice that I have both Mode Mixture and Parallel Switch on my checklist. That's because, while on the surface, they may seem the same(both being cases of minor in a major key piece and vice versa), the music that I actually hear and can say "That's mode mixture" or "That's a parallel key switch" sounds very different. Mode Mixture to me specifies that there is no cadence in the parallel key, you are just borrowing chords while staying in the same key, like using iv in a major key or a minor tonic appearance in like 1 bar of the entire phrase. Parallel Switch specifies to me that it's basically like a modulation in many respects, there's a clear point of delineation between 2 keys, there's a clear pivot, and the only thing keeping it from being a true modulation is that the tonic note is the same.

Beethoven I find often leans towards the latter, the switch(which I think is clearest to see in his C minor pieces like his Fifth Symphony, Pathetique Sonata etc.), whereas in Mozart and some of the Romantics, I will more often find the former, Mode Mixture, often as borrowed chords from the parallel minor in major. Like in K 333, where there's that one beat of Bb minor at the end of the exposition of the first movement. Beethoven is generally not so fleeting in this regard from what I've heard, if it seems like he's borrowing from the parallel minor, chances are that he's preparing for a full blown switch to minor, which usually involves vii°7/V or something similar.