Music Theory I is designed for any person interested in learning the basics of western music theory and chorale harmonization. It is specifically tailored to students in a college or university setting in the United States, but it is perfect for anyone simply looking to learn, or improve their understanding of, music theory.
What are the lessons like?
Music Theory I is designed for any person interested in learning the basics of western music theory and chorale harmonization. It is specifically tailored to students in a college or university setting in the United States, but it is perfect for anyone simply looking to learn, or improve their understanding of, music theory.
What are the lessons like?
Lessons are presented in short, information-dense modules with many quizzes and downloadable worksheets accompanying them. Each video is written and constructed to be as concise as possible so that no time is wasted. Don't be fooled by other courses that have longer hour counts. The lessons are scripted and structured to build on each other making the flow seamless and easy to understand.
Who teaches the course?
Dr. Max Keller is currently an Assistant Professor of Music Theory at Andrews University.
Who should take this course?
Anyone who took the previous course, “Music Theory Foundations”
College or university students taking the first year of music theory
Anyone who can read music a little and wants to understand more about music theory
A producer or composer that is looking to improve their craft
A review of reading intervals with guidance on ways to read them faster.
This lesson shows some rhythmic notation guidelines and how to beam various beat subdivisions.
Sometimes ties are needed to notate rhythms that cross the beats
Put all the tools learned so far to use by analyzing a Bach excerpt.
Learn the terms for vertical motions created by two notes
Learn how tendency notes shape chord progressions and functions within a scale.
This lesson introduces many of the rules of chorale (4 part) harmonization: ranges, spacing, voice crossings, overlaps, and intervals to avoid.
This lesson continues teaching the rules of chorale harmonization: parallel octaves and 5ths, hidden octaves and 5ths
When notating triads using 4 voices a note must be doubled. This lesson explains the preferred doublings for different chord inversions.
We learn the process of choosing chords to accompany a melody, and are then used to write in a 4 part setting.
Now its time to apply the lessons of tendency notes to the strongest progression in tonal music, the dominant 7th to tonic resolution.
Put all the skills learned to the test by writing music from a single figured bass line.
Looking at some of the differences to consider when writing in a minor key
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