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I have basic knowledge about these but I want to learn in depth. So what could be the sequence to learn. Also tell where Form, and other elements will come.

closed as primarily opinion-based by David Bowling, Todd Wilcox, Richard, Tim, Doktor Mayhem Jan 12 at 19:06

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    Are you asking for someone to layout a whole fist year music theory course? You could just get a first year music theory textbook and follow that. – Todd Wilcox Jan 11 at 4:56
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    is this correct : where Form? do you mean the form or where from?) – Albrecht Hügli Jan 11 at 12:45
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    'sequence' has a few meanings. There are harmonic and melodic sequences. But I think you mean 'in what order should I lean harmony, melody, and rhythm.' Can clarify? – Michael Curtis Jan 11 at 13:54
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First you have to know at least all what's in the ad of this site: https://www.musictheory.net/lessons

to get an idea what sequence you should choose: https://www.orange.k12.nj.us/cms/lib7/NJ01000601/Centricity/Domain/15/MusicTheory_9-12.pdf

you may also just follow the jazz book of mark levine

https://books.google.ch/books? id=iyNQpJ4oaMcC&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

or any other book about harmony like: https://www.bestmusicteacher.com/download/Tchaikovsky_HarmonyTextbook_Eng.pdf

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The basic arrangement of musical sounds horizontally (melody), vertically (harmony), and across time (rhythm) should be studied together. Form and other advanced topics can come once these basic three have been mastered. During the lesson, it is common for the student to demonstrate rhythm practice by tapping the left and right hands on the knees, and melodic practice by performing etudes (musical themes, scales, and arpeggios). The student may then analyze/discuss the harmonic progression of the etude for the teacher. Finally, as the student advances into the significant literature, form, counterpoint, and history may be discussed.

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Your question is very broad. Almost too broad to answer, but if you list the key words in your question...

...harmony, melody and rhythm ...form

There is one particular thing that does bring all these elements together in the classical style: the cadence.

But, here is the caveat. I don't mean cadence in the loose sense that many explain it. Many time people list things like V7|I authentic cadence IV| plagal cadence without regard for if the progression is the end of a phrase.

Of course the basic definitions of cadence will cover harmony and melody. For example, authentic cadence is harmonically V|I and melodically something like ^3 ^2 ^1 in the treble and ^5 ^1 in the bass. The rhythmic/metrical aspect can come in through examining the barline.

You also asked about form. This is where a deeper level study of cadence becomes instructive. A cadence isn't a chord progression, it's a form device. This article - Caplin, The Classical Cadence - is a great explanation of that idea.

Studying cadences may seen too basic, but it provides a good integrated view of harmony, melody, rhythm, and form.

Consider things like: harmonically "advanced" concepts like augmented sixth chords are intimately related to the half cadence and melodically are contrapuntal devices as well as examples of tendency tones. Formally the half cadence is essential for understanding the structure of classical phrasing. This is how all the musical elements are integrated in cadences and cadential harmony.

In terms of study tasks you could try playing cadence patterns in all 24 keys, identify cadences and their formal function in real scores staring with small forms like minuets and moving up to large forms like the sonata, and reading a college harmony textbook.

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