About This Course
For years I’ve been teaching Music Theory in the college classroom. These classes I’m making online use the same syllabus I’ve used in my college classes for years, at a fraction of the cost. I believe anyone can learn Music Theory – and cost shouldn’t be a barrier.
Recently I was named as a semi-finalist for the Grammy Foundation’s Music Educator of the Year award because of my in-person university classes. Now I’m taking those classes online in order to reach more students, and give them the joy of Music Theory.
My approach to music theory is to minimize the memorization. Most of these concepts you can learn by just understanding why chords behave in certain ways. Once you understand those concepts, you can find any scale, key, or chord that exists. Even invent your own.
Throughout this class, I’ll be providing you with many worksheets for you to practice the concepts on.
In this class, we will cover:
- Tools of Counterpoint
- How Inversion Names Work
- 7th Chord Inversion Names
- The Chordal 7th
- Root Position V7 – I Resolutions in SATB Voicing
- Inversions of V7 – I Resolutions in SATB Voicing
- Exceptions to Voice Leading
- Doubling Concerns in 7th Chords
- Figured Bass
- Figured Bass and Roman Numerals
- Studying with Bach
- “Realizing” Figured Bass
- The Pre-Dominant Phrasing Area
- Moving from Root Position IV to V Without Parallels
- Predominant 7th Chords
- Harmonization Steps
- Finding Cadences
- Finding the Right Chord Progression
- Finding the Right Inversions
- Practicing Harmonization
- Melodies for Practice
- Worksheets and Music for Practice
- …and much, much more!
What are the requirements?
- Students who have taken Music Theory Comprehensive Part 1 – How To Read Music will benefit from some concepts, but it is not required.
- Students who have taken Music Theory Comprehensive Part 2 – Chords, Scales, and Keys will benefit from some concepts, but it is not required.
- Students who have taken Music Theory Comprehensive Part 3 – Minor Keys and More will benefit from some concepts, but it is not required.
- Students who have taken Music Theory Comprehensive Part 4 – Modes and Counterpoint and More will benefit from some concepts, but it is not required.
- Students who have taken Music Theory Comprehensive Part 5 – Counterpoint Complete will benefit from some concepts, but it is not required.
- Students who have taken Music Theory Comprehensive Part 6 – SATB Composition will benefit from some concepts, but it is not required.
- This course assumes students know the basics of how to read music. (Those who can not identify notes in treble clef should start with Music Theory Comprehensive Part 1)
What am I going to get from this course?
- Master college-level Music Theory Class
- Compose music in the style of Bach and other Baroque composers
- Compose music in the style of many 18th Century Composers
- Create more emotional music using suspensions, resolutions, and non-chord tones effectively
Who is the target audience?
- This course is designed for anyone who has wondered about music theory and is ready to fully explore it.
- Songwriters, producers, and instrumentalists will benefit from this course by understanding music on a deeper level.
Our Promise to You
By the end of this course, you will have learned about music theory harmonization.
30 Day Money Back Guarantee. If you are unsatisfied for any reason, simply contact us and we’ll give you a full refund. No questions asked.
Get started today and develop your music production skills.
|Section 1 - Welcome And Overview|
|Tools We Will Use||00:00:00|
|[DOWNLOAD] Staff Paper Template||00:00:00|
|The Full MuseScore File (All Examples)||00:00:00|
|Section 2 - Inversion Names|
|How Inversion Names Work||00:00:00|
|Triad Inversion Names||00:00:00|
|Seventh Chord Inversion Names||00:00:00|
|Section 3 - Inversions Of V7 And Resolutions|
|Resolving The “Chordal 7th”||00:00:00|
|Root Position V7 – I Resolution In SATB||00:00:00|
|Inversions Of V7 – I Resolutions In SATB||00:00:00|
|Section 4 - Figured Bass|
|What Is Figured Bass?||00:00:00|
|How Figured Bass Works||00:00:00|
|Finding Figured Bass Roman Numerals||00:00:00|
|“Realizing” Figured Bass||00:00:00|
|Bach Example With Melody||00:00:00|
|6 Basic Rules To Remember||00:00:00|
|[DOWNLOAD] Worksheet No. 1||00:00:00|
|Section 5 - T-D-T Becomes T-PD-D-T|
|Back To Phrasing!||00:00:00|
|Defining The “Pre-Dominant”||00:00:00|
|Using ii And IV As Pre-Dominant||00:00:00|
|Major Key Examples||00:00:00|
|Minor Key Examples||00:00:00|
|Moving From Root Position IV To V Without Parallels||00:00:00|
|Doubling In The Minor Key iiº Chord||00:00:00|
|Pre-Dominant Seventh Chords||00:00:00|
|[DOWNLOAD] Worksheet No. 2||00:00:00|
|Section 6 - Harmonizing Chorale Melodies|
|Method For Harmonization||00:00:00|
|Start By Finding Your Cadences||00:00:00|
|What About T-PD-D-T?||00:00:00|
|Second, Outline Your Harmony||00:00:00|
|Third, Write Out Your Soprano And Bass Lines||00:00:00|
|Last, Complete The Inner Voices||00:00:00|
|Harmonization 2: Mary Had A Little Lamb||00:00:00|
|Harmonization 2: Finding The Cadences||00:00:00|
|Harmonization 2: Outline The Harmony||00:00:00|
|Harmonization 2: Write Out The Bass Line||00:00:00|
|Harmonization 2: Complete The Inner Voices||00:00:00|
|Proofread And Double Check||00:00:00|
|Don’t Forget To Write Musically!||00:00:00|
|Don’t Forget About Voice Leading!||00:00:00|
|Worksheets For Practice||00:00:00|
|[DOWNLOAD] Worksheet No. 3||00:00:00|
|Some Melodies For Practice||00:00:00|
|Section 7 - Wrap Up!|
|What Comes Next?||00:00:00|