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An in-depth and straight forward approach to understanding music.
What you'll learn
The definition of music
The elements of music (rhythm & pitch)
Division of pitch into melody and harmony
Rhythmic notation
Understanding relative durations of sound
The whole, half, quarter, 8th and 16th notes
Why notes are named the way they are
Relative durations vs. assigning numerical values
The unit of measurement
Beat
Tempo
Meter
Distinguishing between rhythm and meter
Bar lines and measures
signatures
2/4, 3/4 and 4/4 meters
Deteing the meter without a signature
Natural division of rhythms
Strong and weak pulses
Rests
Assigning numerical values to rests
The whole rest and meter
Dotted notes
Numerical values of dotted notes
History of dotted notes
Dotted rhythms
The 3:1 ratio in dotted rhythms
The tie
Ties vs. dotted notes
Advantages and disadvantages of notating with ties vs. dots
Re-designation of the unit
3/8 and 6/8 meters
New numerical values of notes
Understand relative durations with regard to a new unit of measurement
Strength of pulses
Designating the half note as the unit
Notating 2/2 meter or "cut"
Numerical values of note durations in 2/2 meter
Comparison of 4/4 meter and 2/2 meter
Reasons for 2/2 meter
Classifying meters
Simple meter and compound meter
Duple, triple, and quadruple meter
Complex meter
Artificial divisions of the beat or beats
Artificial division of parts of the beat
Common types of tuplets
Definition of triplets & duplets
Identifying triplets & duplets
Ratio of triplets & duplets
Numerical value of triplets & duplets
Artificial divisions in relation to simple and compound meters
Sound waves
Frequency
Indefinite vs. definite pitch
Modern vs. ancient definition of pitch
Pitch expents
Introduction to the staff
How the mind sees number
Ledger lines
Clefs
Movement on the staff (step, skip, repeat)
The musical alphabet
Letter names on the staff
The grand staff
Direction of note stems (and rationale)
Introduction to the keyboard
Groups of black keys
Letter names of keys
Correlation of staff to the keyboard
Half steps and whole steps
Sharps and flats on the keyboard
Enharmonic equivalents
Enharmonic keyboard notes
Reading sharps and flats on the staff
Sharps and flats within measures
The natural sign
The definition of interval
Melodic vs. harmonic intervals
Identifying intervals on the keyboard
Identifying intervals on the staff
Ratios and intervals
Pythagoras and the monochord
Consonance and dissonance
Definition and history of the modern scale
The major scale
Intervals and the major scale
Basis of the scale
Basis of the whole tone
Greek tetrachords
Greek semi tone and whole tone
Constructing scales on the keyboard
Constructing scales on the staff
Definition of "key"
The key signature
The circle of 5ths
The order of sharps
The order of flats
How to detee the key from the sharps/flats
How to detee how many and which sharps/flats are in a given key
Enharmonic keys
Interval number vs. interval quality
Major, minor and perfect interval qualities
Deteing an intervals' number and quality
Connection of interval qualities to the major scale
Identifying intervals on the staff
Augmented and diminished interval qualities
How augmented and diminished intervals are formed
The double sharp
Why the double sharp is necessary
The double flat
Why the double flat is necessary
The tritone
Abbreviations for interval qualities
Enharmonic intervals
Complementary intervals
Which qualities, when inverted, become which qualities
Simple intervals
Compound intervals
Reducing compound intervals
How to detee the quality of compound intervals
Open and close harmony
The difference between intervals and chords
Major and minor chords
Deriving the ratio of the major and minor 3rds using the monochord
The Pythagoras expent and the major chord
Block and broken chords
Augmented and diminished chords
Music's move from the horizontal to the vertical
Mathematical proportions of the major, minor, augmented and diminished triads
Understanding the harmonic mean
The harmonic mean and the major chord
Understanding the arithmetic mean
The arithmetic mean and the minor chord
The geometric mean and the augmented and diminished chords
Relation of chords to the major scale
The number of possible triads constructed from the pitches of the major scale
Order and quantity of triad qualities formed from the major scale
Roots of chords, scales, and keys
Comparison of the major and minor scales
Tetrachords in minor scales
The natural minor scale
Constructing natural minor scales on the keyboard & staff
The harmonic minor scale
The melodic minor scale
Ascending vs. descending melodic minor scale
Constructing harmonic minor scales on the keyboard & staff
Constructing melodic minor scales on the keyboard & staff
Relative keys
Deteing the relative minor
Deteing the relative major
Deteing the key of music with shared key signatures
Parallel keys
Difference between parallel and relative keys
Relation of chords to the natural minor scale
Order and quantity of triad qualities formed from the natural minor scale
Relation of chords to the harmonic minor scale
Order and quantity of triad qualities formed from the harmonic minor scale
The major scale degrees
Naming the scale degree using Roman numerals
Naming triads using Roman numerals
Benefit to using degree vs. letter name
Primary chords and their importance
Relationship between chords
Chord inversions
Root position, 1st inversion and 2nd inversion
Intervals in chord inversions
The root rule
How to identify chord inversions by name, quality and inversion
Voices of a chord
Voice leading
Inversions and the primary chords
Chord progressions
Use of inversions to improve transition between chords
Introduction to function
Function names of the scale degrees
Extending the triad
Dominant seventh chords
Other names and notation of the dominant seventh chord
Why the dominant seventh chord is named the way it is
Inversion of the dominant seventh chord
3rd inversion
Finding the root in a dominant seventh chord
How to identify a dominant seventh chord
Dominant seventh chords with missing notes
Major 7th chords
Minor 7th chords
Diminished 7th chords
Musical punctuation
Perfect authentic cadence
Imperfect authentic cadence
Half cadence
Plagal cadence
Deceptive cadence
Hexatonic scale
Whole tone scale
Chromatic scale
Pentatonic scale
Tonal music
Tonal centers
Polytonal music
Atonal music
Free atonal
Strict atonal
Twelve-tone technique
Tone rows
The ancient Greek modes
History of the church modes
Modern modes
The harmonic series
Overtones
Fundamental of a pitch
Complex vibration of a string
What the numbers of the harmonic series express
Hearing overtones (and expent)
Timbre
Nature's hierarchy of harmonic sound
Objective measurement of consonance and dissonance
History of consonance and dissonance
Tuning pitches
Brief history of tuning systems
Pythagorean tuning
Just intonation
Equal temperament
Definition of cents
Tuning of the modern piano
Benefits and shortcomings of the different tuning systems
Apps that demonstrate and compare some of the tuning systems
Overview of the four main periods of western art music
Requirements
no previous musical knowledge is needed
Description
Why should I learn music theory Isn't it just "theoretical" knowledge that I won't really use Nothing could be further from the truth! Music theory also has many practical applications. A musician who has studied music theory has a huge advantage over a musician who has not. Not only will they read music more fluently, their performances will be more musical because they will understand the various elements of music and how all the parts work together. Song writers and composers with a background in music theory will also have a huge advantage over those without such a background. In fact, for those who want to write music, there is nothing more important than having a firm understanding of music theory.Why You Should Take This Course:you will be learning from a professional musician and award-winning composerthe course is in-depth and covers all levels the material is presented in a straight forward and easy to understand approachthe videos and PDFs get right to the point, and do not ramble on for lengthy amounts of saying very little and leaving you confusedyou will go beyond just definitions and terms and get the added benefit of learning the "why" behind the subject matter Includes:112 lecturesover 350 diagramsover 90 audio examples369 memory questions45 on-line quizzesnearly 1,000 quiz questionsexercises, expents and able music apps
Overview
Section 1: INTRODUCTION
Lecture 1 Course Structure
Section 2: RELATIVE DURATIONS OF SOUND
Lecture 2 Music's Elements
Lecture 3 Notating Duration
Lecture 4 Memory Questions (sec.2)
Section 3: ASSIGNING VALUES TO NOTE DURATIONS
Lecture 5 The Definition of Beat
Lecture 6 Beat vs. Tempo
Lecture 7 Memory Questions (sec.3)
Section 4: METER
Lecture 8 The Definition of Meter
Lecture 9 Signatures
Lecture 10 Occurrence of Strong Beats
Lecture 11 Memory Questions (sec.4)
Section 5: RESTS
Lecture 12 Relative Duration of Silence
Lecture 13 Memory Questions (sec.5)
Section 6: DOTTED NOTES
Lecture 14 Adding on Duration
Lecture 15 Memory Questions (sec.6)
Section 7: THE TIE
Lecture 16 Adding Notes Together
Lecture 17 Ties vs.Dots
Lecture 18 Memory Questions (sec.7)
Section 8: REDESIGNATING THE UNIT
Lecture 19 3/8 and 6/8 Meters
Lecture 20 Strongest Pulses
Lecture 21 Memory Questions (sec.8)
Section 9: CUT
Lecture 22 The Half Note As Unit
Lecture 23 Memory Questions (sec.9)
Section 10: CLASSIFYING METERS
Lecture 24 Simple Meter
Lecture 25 Compound Meter
Lecture 26 Complex Meter
Lecture 27 Memory Questions (sec.10)
Section 11: TRIPLETS
Lecture 28 Artificial Divisions
Lecture 29 Memory Questions (sec.11)
Section 12: DUPLETS
Lecture 30 More About Tuplets
Lecture 31 Artificial Divisions & Meter Type
Lecture 32 Memory Questions (sec.12)
Section 13: PITCH
Lecture 33 Sound Waves
Lecture 34 Memory Questions (sec.13)
Section 14: INTRODUCTION TO THE STAFF
Lecture 35 Staff Lines
Lecture 36 Ledger Lines
Lecture 37 Clefs
Lecture 38 Types of Movement on the Staff
Lecture 39 Memory Questions (sec.14)
Section 15: LETTER NAMES OF THE STAFF
Lecture 40 The Musical Alphabet
Lecture 41 The Grand Staff
Lecture 42 Direction of Note Stems
Lecture 43 Memory Questions (sec.15)
Lecture 44 Exercises (sec.15)
Section 16: INTRODUCTION TO THE KEYBOARD
Lecture 45 Letter Names of the Keys
Lecture 46 Relation to the Staff
Lecture 47 Half Steps and Whole Steps
Lecture 48 Memory Questions (sec.16)
Section 17: SHARPS & FLATS ON THE KEYBOARD
Lecture 49 Sharps
Lecture 50 Flats
Lecture 51 Memory Questions (sec.17)
Section 18: SHARPS & FLATS ON THE STAFF
Lecture 52 Reading Sharps on the Staff
Lecture 53 Reading Flats on the Staff
Lecture 54 The Natural Sign
Lecture 55 Memory Questions (sec.18)
Section 19: INTRODUCTION TO INTERVALS
Lecture 56 Measuring Musical Distance
Lecture 57 Musical Ratios of Intervals
Lecture 58 Memory Questions (sec.19)
Section 20: INTRODUCTION TO THE SCALE
Lecture 59 Steps of the Scale
Lecture 60 Tetrachords
Lecture 61 Memory Questions (sec.20)
Lecture 62 Exercises (sec.20)
Section 21: MAJOR KEYS
Lecture 63 The Definition of a Key
Lecture 64 Key Signatures
Lecture 65 Major Keys with Sharps
Lecture 66 Major Keys with Flats
Lecture 67 Enharmonic Keys
Lecture 68 Memory Questions (sec.21)
Lecture 69 Exercises (sec.21)
Section 22: MAJOR, MINOR, & PERFECT INTERVALS
Lecture 70 Number vs. Quality
Lecture 71 Intervals and the Scale
Lecture 72 Memory Questions (sec.22)
Lecture 73 Exercises (sec.22)
Section 23: AUGMENTED & DIMINISHED INTERVALS
Lecture 74 Augmented Intervals
Lecture 75 The Double Sharp
Lecture 76 Diminished Intervals
Lecture 77 The Double Flat
Lecture 78 The Tritone
Lecture 79 Memory Questions (sec.23)
Lecture 80 Exercises (sec.23)
Section 24: COMPLEMENTARY & COMPOUND INTERVALS
Lecture 81 Complementary Intervals
Lecture 82 Compound Intervals
Lecture 83 Reducing a Compound Interval
Lecture 84 Open & Close Harmony
Lecture 85 Quality of Compound Intervals
Lecture 86 Memory Questions (sec.24)
Section 25: INTRODUCTION TO CHORDS
Lecture 87 Major & Minor Chords
Lecture 88 Ratio of Major & Minor 3rds
Lecture 89 Memory Questions (sec.25)
Section 26: AUGMENTED & DIMINISHED CHORDS
Lecture 90 The Augmented Chord
Lecture 91 The Diminished Chord
Lecture 92 Memory Questions (sec.26)
Section 27: THE MATHEMATICAL PROPORTIONS OF TRIADS
Lecture 93 The Harmonic Mean
Lecture 94 The Arithmetic Mean
Lecture 95 The Geometric Mean
Lecture 96 Memory Questions (sec.27)
Section 28: CHORDS OF THE MAJOR SCALE
Lecture 97 Chord Roots
Lecture 98 Chord Qualities of the Major Scale
Lecture 99 Roots of Scales and Keys
Lecture 100 Memory Questions (sec.28)
Section 29: THE NATURAL MINOR SCALE
Lecture 101 Comparing Major and Minor Scales
Lecture 102 Memory Questions (sec.29)
Lecture 103 Exercises (sec.29)
Section 30: HARMONIC & MELODIC MINOR SCALES
Lecture 104 The Harmonic Minor Scale
Lecture 105 The Melodic Minor Scale
Lecture 106 Memory Questions (sec.30)
Lecture 107 Exercises (sec.30)
Section 31: MINOR KEYS
Lecture 108 Relative Keys
Lecture 109 Shared Key Signatures
Lecture 110 Parallel Keys
Lecture 111 Memory Questions (sec.31)
Section 32: CHORDS OF THE MINOR SCALE
Lecture 112 Natural Minor Scale Chords
Lecture 113 Harmonic Minor Scale Chords
Lecture 114 Memory Questions (sec.32)
Section 33: DEGREES OF THE SCALE
Lecture 115 Naming with Roman Numerals
Lecture 116 Memory Questions (sec.33)
Section 34: PRIMARY CHORDS
Lecture 117 Chord Relationships
Lecture 118 Memory Questions (sec.34)
Section 35: CHORD INVERSIONS
Lecture 119 Reordering Chord Pitches
Lecture 120 Location of the Root
Lecture 121 How to Identify Chord Inversions
Lecture 122 Memory Questions (sec.35)
Lecture 123 Exercises (sec.35)
Section 36: VOICE LEADING
Lecture 124 Transition Between Chords
Lecture 125 Memory Questions (sec.36)
Section 37: FUNCTIONS
Lecture 126 Naming Scale Degree "Roles"
Lecture 127 Memory Questions (sec.37)
Section 38: THE DOMINANT SEVENTH CHORD
Lecture 128 Extension of the Triad
Lecture 129 Dominant Seventh Inversions
Lecture 130 Memory Questions (sec.38)
Section 39: OTHER FORMS OF SEVENTH CHORDS
Lecture 131 The Major 7th Chord
Lecture 132 The Minor 7th Chord
Lecture 133 The Diminished 7th Chord
Lecture 134 Memory Questions (sec.39)
Section 40: CADENCES
Lecture 135 Musical Punctuation
Lecture 136 The Authentic Cadence
Lecture 137 The Half Cadence
Lecture 138 The Plagal Cadence
Lecture 139 The Deceptive Cadence
Lecture 140 Memory Questions (sec.40)
Section 41: OTHER FORMS OF SCALES
Lecture 141 The Whole Tone Scale
Lecture 142 The Chromatic Scale
Lecture 143 The Pentatonic Scale
Lecture 144 Memory Questions (sec.41)
Section 42: POLYTONAL & ATONAL
Lecture 145 Polytonal Music
Lecture 146 Atonal Music
Lecture 147 Memory Questions (sec.42)
Section 43: MODES
Lecture 148 The Ancient Greek Modes
Lecture 149 The Church Modes
Lecture 150 The Modern Modes
Lecture 151 Memory Questions (sec.43)
Section 44: THE HARMONIC SERIES - PART 1
Lecture 152 Overtones
Lecture 153 Hearing Overtones
Lecture 154 Memory Questions (sec.44)
Section 45: THE HARMONIC SERIES - PART 2
Lecture 155 Nature's Hierarchy of Harmonic Sounds
Lecture 156 The History of Consonance
Lecture 157 Memory Questions (sec.45)
Section 46: TUNING SYSTEMS
Lecture 158 Tuning Pitches
Lecture 159 Pythagorean Tuning
Lecture 160 Just Intonation
Lecture 161 Equal Temperament
Section 47: PERIODS OF CLASSICAL MUSIC
Lecture 162 A Brief History
Lecture 163 Conclusion
Lecture 164 BONUS LECTURE: S
those who want more than just definitions and terms, but also want the "why",bners to advanced music students,musicians who want to improve their reading and musical performance,songwriters and composers (a firm grasp of music theory is necessary to excel in your art),any person wanting to learn more about music
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