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Music Theory 101 Lesson 1: Rhythm Part I Pulse Meter Notes Rhythmic Notation Activities

Lesson 2: Rhythm Part II Eighth Notes Beaming, Dots, and Ties Rhythmic Notation Tips Rhythmic Dictation Activity Rhythmic Notation Activity

Lesson 3: Pitch Notation ABCs of Pitch Notation Treble Clef Notes Bass Clef Notes Grand Staff Octaves Accidentals: Sharps, Flats, and Naturals Enharmonics

Lesson 4: Major Scales Half Steps and Whole Steps Chromatic Scales Whole Tone Scales Major Scales Other Major Scales Key Signatures Scales and Key Signatures

Lesson 5: Minor Scales The Minor Scale Sound The Relative Major/Minor Relationship Parallel Minor Harmonic Minor Melodic Minor The Descending Melodic Minor Scale The Real Melodic Minor Scale Minor Scale Key Signatures

Lesson 6: Intervals Interval Number Names

Interval Sound Unison Perfect and Major Intervals Major vs. Minor Intervals Perfect/Major vs. Diminished Perfect/Major vs. Augmented Compound Intervals

Lesson 7: Chords I: Triads Major Triads Minor Triads Diminished and Augmented Triads Chord Symbols

Lesson 8: Triad Inversions Triad Inversions Bass/Chord Theory Voice Leading Parallel and Contrary Motion

Lesson 9: Chords II: Basic Seventh Chords The Major Seventh Chord The Dominant Seventh Chord The Minor Seventh Chord The Minor 7 The Diminished Seventh Chord Chord Symbols and Review

Lesson 10: Inversions and Voice: Leading of Seventh Chords Inversions of Basic Seventh Chords Positions of Basic Seventh Chords Voice Leading Seventh Chords Voice Leading: Two Ways

Lesson 11: Using the Lead Sheet Harmonizing the Melody Creating Harmonic Accompaniments Voice Doublings Increasing Activity in the Bass

Lesson 12: Melody Writing Making Melodic Connections Repeating Phrases Sequences

Music Theory 201 Lesson 1: The Imaginary Bar Line The Imaginary Bar Line Note Values Smaller than the Half Note Rest Values and the Imaginary Bar Line

Lesson 2: Diatonic Triads and Seventh Chords in Major The Construction of Diatonic Triads Diatonic Seventh Chords

Lesson 3: The Harmonic Function of Diatonic Chords The Terms Tonic, Subdominant, and Dominant Harmonic Cadences The IImin7 V7 IMaj7 Progression

Lesson 4: Additional Chord Types Two Additional Dominant 7 Chords Two Additional Major Chords Two Additional Minor Chords

Lesson 5: Harmonic Function and Voice Leading of Additional Chord Types The Major and Minor 6th Chords The Minor and Augmented Major 7th Chords The Augmented 7th and Dominant 7(sus4)

Lesson 6: Diatonic Chords in Harmonic Minor Diatonic Chords in Harmonic Minor Diatonic Function in Harmonic Minor The II V7 I Progression in Minor

Lesson 7: The Upper Structures of Harmony/Tensions The Theory of Tensions Altered Tensions The Melodic Use of Tensions

Lesson 8: The Harmonic Use of Tensions Substituting the 9th for the Root Substituting the 13th for the 5th Using Altered Tensions

Using the 11th

Lesson 9: The Rhythmic Anticipation and Articulations The Rhythmic Anticipation Short Durational Value Anticipations Articulation Markings

Lesson 10: Simple Binary Song Form Examples of Simple Binary Form Other Types of Variation and Contrast

Lesson 11: The Blues Form and Style The Blues Form The Blues Style and Its Effect on Harmony The Blues Style and Its Effect on Melody

Lesson 12: A Closer Look at the Dominant Seventh Chord Voice Leading Dominant Seventh Chords with Tensions Stripping the Dominant Seventh Chord down to the Basics Adding a Third Voice to the Dominant Seventh Chord

Music Theory 301 Lesson 1: Triplets and Swing vs. Straight Eighths Eighth and Quarter Note Triplets - Theory / Notation Eighth Note Triplets as Basis for Swing Eighths Swing Eighths vs. Straight Eighths - Musical Application

Lesson 2: Open Position Chords/Drop 2 Voicings The II V I Progression in Two Positions of Drop 2 Extended Progressions Using Alternating Positions Variations on the V7 Chord

Lesson 3: I VI II V I Progression; Root Motion/Bass Lines The I VI II V I Chord Pattern Voice Leading the I VI II V I Chord Pattern Root Motion and the Bass Line

Lesson 4: Modal Scales Lydian and Mixolydian - Comparison to Major Dorian, Aeolian, Phrygian - Comparison to Natural Minor Writing Modal Melodies

Lesson 5: Chord Scales in Major Keys Chord Scales as Chord Tones Plus Passing Tones from Key Theory of Avoid Notes Writing/Analyzing Melodies Using Chord Scales

Lesson 6: Approach Note Theory Theory of Diatonic and Chromatic Approach Notes Writing/Analyzing Melodies Using Approach Notes Ear Training

Lesson 7: Diatonic Chords in Natural/Melodic Minors Construction of Diatonic Chords in Melodic Minor Construction of Diatonic Chords in Natural Minor Recognition/Analysis/Ear Training

Lesson 8: II V I and I VI II V I in Minor - Mixing and Matching Scale Types Theory of Minor Scale Type on Each Chord Application of Theory in Variety of Keys Recognition/Analysis/Ear Training

Lesson 9: Sixteenth Notes The Sixteenth Note Sixteenth-Note Anticipations Double-Time Feel

Lesson 10: Pentatonic Scales Constructing Pentatonic Scales Fitting Pentatonic Scales over Chords Writing Pentatonic Scale Melodies

Lesson 11: Slash Chords The Dominant (sus4) as Slash Chord Other Chord Types Written as Slash Chords Recognition/Analysis/Ear Training

Lesson 12: Bass Pedals The Tonic Pedal - Common Applications The Dominant Pedal - Common Applications Recognition/Analysis/Ear Training