The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing, and composing harmonic progressions without struggle, in all keys alike. These workbooks are based on the map used in the Mapping Tonal Harmony Pro app by mDecks Music, which is recommended as accompanying material/tool for all volumes. All maps, progression examples and exercises in these books, were designed to improve and expand the student's view of the harmonic surroundings around each and every tonal center. The volumes in this collection are organized in a progressive manner, each volume expanding the previous volume's map by introducing new harmonic concepts and/or functions, based on the premise that all functions introduced in earlier volumes have been understood and assimilated. Each new concept or function adds some level of detail to the map and/or extends the known area around the tonic. Many of the concepts presented in these books are simply mentioned for mapping purposes only, and should be carefully studied by using other sources such as: a harmony course, tonalharmony books, teachers, etc. Voice-leading and inversions are not covered in these volumes since their main objective is to map essential harmonic functions in every key. Vol. 1The basic major & minor diatonic neighborhoodsTonic - Sub-Dominant - Dominant. Basic harmonic progressions.Perfect Authentic Cadence (PAC). The use of V7 vs. V as a triad. Standard/Basic Harmonic Progressions in the nearby diatonic neighborhood. Use of the Tonic- Subdominant - Dominant - Tonic progressions.Progression over the Circle of Fifths: vi-ii-V-ISubstitution: IVMaj7 in place of IIm7 Vol. 2Mapping IIIm , I64, V7sus4 and deceptive cadencesThe complete diatonic neighborhood for Major-MinorDeceptive and Plagal Cadences.The IIIm (ambiguous chord : Tonic vs. Dominant).Cadential I64 or I/5, Im64 or Im/5 and the V7sus4: all preceding the V7.Borrowing chords from other modes Vol. 3More harmonic progressions and cadences in the diatonic neighborhoodMapping the SubV7 and its use as a Neapolitan chordInverted bass and bass lines. Pedal points: Tonic Pedal and Dominant Pedal.Backward progressions and other progressions outside the circle of fifths.The half cadence to V7 without secondary dominants.The Neapolitan Sixth Chord (bII/3 or N6) and the SubV7 (bII7). Vol. 4Basic Secondary dominants and their related IIm7V7/x, viio7/x, IIm7/xBasic Secondary functions. Creating a temporary key center in the diatonic neighborhood.Secondary Dominants (V7 and VIIo7 and the related IIm7). Extended Dominants. Vol. 5Mapping blues I7 IV7. Additional minor mode functionsThe bIIMaj7 subdominant minor and its related IIm7-V7More borrowed chords from other modes and paths to modulations.The IV7 from dorian minor. The modal Vm.The bIIMaj7 subdominant minor chord (or root-altered IIm7b5) and its related IIm7 and V7. The I7 as tonic in the Blues and Blues form. Vol. 6Advanced secondary functions and deceptive secondary cadencesSecondary cadential I64s & V7sus. Mapping IV/x , bVI/x, bVII7/x, viio7/xOther Secondary functions: IV/x bVI/x and bVII/xCreating a temporary Tonic in the diatonic neighborhood using secondary IV/x, bVI/x and bVII/x. More borrowing from other modes and paths to modulations.Secondary cadential 64s & V7sus. Vol. 7The entire MAP, including all secondary functionsMapping all secondary subVs/x and their related IIm. The N6 and Gr+6More Secondary functions: SubV7/X . The Neapolitan 6 N6/X (same as SubV/3 no 7)The Augmented 6th chords. Gr+6, It+6, Fr+6.The related IIm7/X for the SubV7/X. Extended dominants. Reinterpreting chord functions. New paths to modulations.