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
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
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