Major Triads, Music Theory

Major Triads

XI. Triads and Chords: Lecture 1 | 27:19 min

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Major Triads

The Root of a Major Triad is the bottom, or tonic note.
The third of a Major Triad is the middle note, or third note of the scale.
The fifth of a Major Triad is the top note, or fifth note of the scale.
A major triad is composed of a major third beneath a minor third.

Major Triads

Lecture Slides are screen-captured images of important points in the lecture. Students can download and print out these lecture slide images to do practice problems as well as take notes while watching the lecture.

I. Music Theory
	Music Theory	32:43
II. Properties of the Grand Staff
	Staff, Treble Clef & Bass Clef	9:30
	Bar Lines & Measures	18:05
III. Notes and Rhythms
	Rhythmic Notation	18:44
	Time Signature	18:49
	Rhythmic Notation, Continued	27:57
	Rests	32:58
IV. Keyboard Basics
	Introduction of Keyboard	19:11
	Finding D E F G A B on the Keyboard	24:46
	Identifying Black Keys	27:22
	C Major Scale Whole & Half Steps	19:19
V. Intervals
	Major, Minor, Perfect & Numbered Intervals	27:50
VI. Major and Minor Keys
	Circle of Fifths	24:55
	Minor Scales	34:12
	Key Signatures	32:43
	The Major Scale in 12 Different Keys	37:10
VII. Scale Degrees
	Scale Degrees	25:55
VIII. Accidentals
	Double Sharps & Flats	13:40
IX. Rhythms
	3/4, Simple & Compound Meter	15:46
X. Solfeggio
	Solfeggio	20:32
XI. Triads and Chords
	Major Triads	27:19
	Minor Triads	32:03
	Augmented Chords	21:08
	Diminished Chords	19:05
XII. Figured Bass
	Roman Numeral Notation in Major & Minor	28:53
XIII. Chords and Inversions
	Seventh Chords	16:52
	Chord Inversions	22:51

Music Theory

I. Music Theory
	Music Theory			32:43
		Intro		0:00
		Lesson Objectives		0:04
		Grand Staff		0:16
			Difference Between Single Staff and Grand Staff	0:25
			A Brace	0:53
			Drawing a Treble Clef	1:05
			Remembering the Lines of a Treble Clef	1:45
			Remembering the Spaces of a Treble Clef	2:06
			Remembering the Lines of a Bass Clef	2:41
			Remembering the Spaces of a Bass Clef	2:46
			Drawing a Bass Clef	2:59
		Major Scales		3:54
			Using a Pattern of Intervals to Find a Major Scale in Any Key	3:59
			Playing a C Scale	4:56
			Playing a Series of Whole and Half Steps	5:14
			Counting Intervals on the Keyboard	6:05
			Writing a Major Scale	6:37
			Writing Below the Staff	6:50
		Minor Scales		8:09
			Counting Whole and Half Steps of a Minor Scale	8:58
			Listening to A Minor	9:08
			Finding the Interval Pattern of a Minor Scale	9:55
			Writing a Scale in Both Treble and Bass Clefs	10:59
			Listening to A Minor	11:10
		Names of White Keys		11:25
			Matching Keyboard Notes to Notes on the Staff	12:07
			Finding Middle C on the Keyboard	12:20
			Finding Middle C on the Grand Staff	12:43
			Stem Directions	12:53
		Names of Black Keys		13:28
			Black Keys Can Have Two Different Names	13:38
			Sharp = Raise Half Step	13:53
			Flat = Lower Half Step	14:06
			White Key Half Step Example: E and F	15:08
			Finding Black Keys on the Staff	15:53
			Writing Sharps and Flats on the Staff	16:02
			Writing Sharps and Flats After Letters	17:27
		How to Play Chords		17:44
			Playing a C Major Chord	18:02
			Playing Every Other Key to Form a Chord	18:52
			Writing Chords on the Staff	19:00
		Chord Progressions		19:24
			Chord Progressions are a Series of Chords	19:28
			Writing Chord Progressions on the Staff	10:03
			Playing Chord Progressions on the Keyboard	21:40
		Example 1: Grand Staff		22:07
		Example 2: Major Scale on Keyboard		22:52
		Example 3: Minor Scale on Keyboard		23:49
		Example 4: Naming White and Black Keys		25:14
		Example 5: Chords		27:33
		Example 6: Exploring Chord Progressions		28:47
II. Properties of the Grand Staff
	Staff, Treble Clef & Bass Clef			9:30
		Intro		0:00
		Lesson Objectives		0:07
		The Staff, Five Lines		0:18
			The Staff Always Has Five Lines	0:32
			Ledger Lines	0:45
			Why The Staff Only Has Five Lines	1:00
		The Staff, Four Spaces		1:22
			Writing Space Notes Between Ledger Lines	1:32
		Treble Clef		1:41
			The Clef Tells You Which Note is Where	1:47
			Writing a Treble Clef	2:00
			Using Phrases to Remember the Order of the Lines	2:38
		Bass Clef		2:58
			Writing a Bass Clef	3:10
			Using Phrases to Remember the Order of the Lines	3:54
		The Grand Staff		4:57
			The Grand Staff is the Treble Clef and Bass Clef Connected by a Brace	5:00
			What the Brace Means	5:32
			Chords	7:00
		Example 1: Treble Clef		7:17
		Example 2: Bass Clef		8:16
		Example 3: Grand Staff		8:46
	Bar Lines & Measures			18:05
		Intro		0:00
		Lesson Objectives		0:06
		Bar Lines		0:22
			Where the Bar Line Begins and Ends	0:35
			Measures are Used to Think of Music in Smaller Pieces	1:00
			Bar Lines Divide A Set Amount of Beats For Each Measure	2:03
		Measures		2:24
			4/4 Time Signature	2:43
			Only 4 Beats in Every Measure When There is a 4/4 Time Signature	2:39
			In a Measure, Notes are Spaced Away from the Measure	4:12
			Listening to the Example	4:45
		Double Bar Lines		5:59
			Representing the End and Beginning of Examples	6:20
			Listening to the Example	7:07
		Repeat Signs		9:03
		First and Second Endings		10:34
			Listening to the Example	12:55
		Example 1: Creating Bar Lines		14:04
		Example 2: Creating Double Bar Lines		14:17
		Example 3: Creating Bar Lines, Double Bar Lines and Repeat Sign		14:39
		Example 4: Creating First and Second Endings		15:24
III. Notes and Rhythms
	Rhythmic Notation			18:44
		Intro		0:00
		Lesson Objectives		0:06
		Whole Notes		0:18
			Writing Whole Notes	0:24
			Whole Notes are 4 Beats	0:30
			Listening to a Whole Note	0:56
			Octave	1:26
			Writing and Identifying Example Whole Notes	1:48
		Half Notes		4:17
			Half Notes are Connected to a Staff	4:21
			Half Notes are 2 Beats	4:24
			Writing Half Notes	4:38
			Rules for Stem Directions	5:10
		Quarter Notes		7:06
			Quarter Notes are 1 Beat	1:14
			Writing Quarter Notes on the Staff	7:54
		Stem Direction		9:16
			It's Okay to Have a Down Stem and Up Stem in the Same Measure	10:09
		Example 1: Whole Notes		10:56
		Example 2: Half Notes		11:26
		Example 3: Quarter Notes		11:51
		Example 4: Quarter Notes		12:59
		Example 5: Stem Direction		13:01
		Example 6: Rhythmic Combinations		14:25
	Time Signature			18:49
		Intro		0:00
		Lesson Objectives		0:06
		4/4		0:21
			What the Top and Bottom Numbers Represent	0:46
			4 = Quarter Note	1:15
			Review of Whole, Half, and Quarter Notes	1:36
			Fill in 4 Counts for Every Measure	1:54
			Listening to the Example	3:27
		4/4 Continued		5:23
			Listening to the Example	6:14
			Middle C	6:22
		2/4		7:52
			2 = Beats/Measure	8:04
			Writing 2/4 on the Staff	9:03
		2/4 Continued		9:11
			Listening to the Example	10:33
		Example 1: 4/4		11:26
		Example 2: 4/4		13:11
		Example 3: 2/4		13:38
		Example 4: 2/4		14:32
	Rhythmic Notation, Continued			27:57
		Intro		0:00
		Lesson Objectives		0:07
		Dotted Half Notes		0:39
			Dots Add Half of the Note's Beat to Itself	1:15
			Dotted Half Notes = 3 Quarter Notes = 3 Beats	1:47
			Dotted Quarter Notes	2:03
			Having Three Beats in a Measure	2:30
			3/4 Time Signature = 3 Counts per Measure	2:58
		Dotted Quarter Notes		3:34
			Eighth Notes Are Half of a Quarter Note	3:44
			Dotted Quarter Notes = 1.5 Beats	4:30
		Eighth Notes		5:56
			Two Eighth Notes in Every Quarter Note	6:01
			Listening to the Example	7:18
		Dotted Eighth Notes		8:34
			1 Eighth Note = 2 Sixteenth Notes	8:42
		Eighth Notes Barred and Separate		9:57
		Sixteenth Notes		11:00
			1 Sixteenth Note = Half of an Eighth Note	11:09
		Dotted Sixteenth Notes		12:43
			1 Sixteenth Note = 2 Thirty-Second Notes	13:03
		Sixteenth Notes Barred and Separate		14:27
		Thirty-Second Notes		16:03
			Listening to the Example	17:30
		Thirty-Second Notes Barred and Separate		18:25
		Example 1: Dotted Half Notes		18:51
		Example 2: Dotted Quarter Notes		19:55
		Example 3: Eighth Note Combinations		21:13
		Example 4: Sixteenth Note Combinations		23:16
		Example 5: Thirty-Second Note Combinations		24:26
	Rests			32:58
		Intro		0:00
		Lesson Objectives		0:07
		Whole Rests		0:47
			Writing the Whole Rest	0:59
			How Many Counts a Whole Rest is in Different Time Signatures	1:30
		Half Rests		1:50
			How Many Counts a Half Rest is	1:53
			Writing a Half Rest	2:10
			Listening to a Whole Rest	2:38
			Half Rests are Two Counts of Silence	3:19
			Difference Between Writing a Half and Whole Rest	4:19
		Quarter Rests		4:45
			Quarter Rests are One Count of Silence	4:49
			Review of Writing Whole and Half Rests	5:07
			Writing a Quarter Rest	5:25
			Listening to a Quarter Rest	6:59
		Eighth Rests		7:57
			Writing an Eighth Rest	8:06
			Review of Whole, Half, and Quarter Rests	8:14
			Listening to an Eighth Rest	9:33
			Two Eighth Rests in a Row	10:09
		Sixteenth Rests		10:32
			Writing a Sixteenth Rest	10:40
			Review of Whole, Half, Quarter, and Eighth Rests	11:27
			Listening to a Sixteenth Rest	12:15
		Thirty-Second Rests		13:31
			Review of Whole, Half, Quarter, Eighth, and Sixteenth Rests	13:49
			Written Example with Thirty-Second Rests	14:28
			Not Writing the Bar Over a Rest	16:04
			Listening to a Thirty-Second Rest	16:29
		Explanation of Rest Placement		17:12
			Writing the Eighth Rest	17:54
		Exploration of Rest Placement Continued		18:41
			Writing the Sixteenth Rest	18:42
			Writing the Thirty-Second Rest	19:14
		Example 1: Whole Rests		19:41
		Example 2: Half Rests		20:41
		Example 3: Quarter Rests		21:58
		Example 4: Eighth Rests		23:10
		Example 5: Sixteenth Rests		25:14
		Example 6: Thirty-Second Rests		27:27
		Example 7: Completing 4/4 Measures with Rests		31:20
		Example 8: Completing 2/4 Measures with Rests		31:53
IV. Keyboard Basics
	Introduction of Keyboard			19:11
		Intro		0:00
		Lesson Objectives		0:10
		Visual Presentation of the Keyboard		0:35
		Introduction of Middle C		1:28
			Locate C Key	1:50
			Middle C Key	2:22
			Middle C on This Keyboard	3:22
		C in Octaves		3:34
			Eight Keys	3:53
		Middle C on the Grand Staff Treble Clef		4:35
		Middle C on the Grand Staff Bass Clef		5:45
			C on Keyboard	6:41
		Illustration of Every C on the Piano Keyboard		7:22
			C on Keyboard	7:54
			Bass Clef	9:22
			Listen to More Octaves	10:02
		Example 1: Writing Middle C on Treble Clef		11:14
		Example 2: Writing Middle C in Bass Clef		12:50
		Example 3: Writing Every C on the Keyboard		14:06
		Example 4: Finding Middle C on the Keyboard		16:38
		Example 5: Every C on a Keyboard		17:47
	Finding D E F G A B on the Keyboard			24:46
		Intro		0:00
		Lesson Objectives		0:11
		Treble Clef C D E F G A B		0:34
			Finding C	0:56
			Finding D	1:13
			Finding E	1:25
			Finding F	1:33
			Finding G, A and B	1:52
		Bass Clef C D E F G A B		2:30
			Playing C, D, E, F, G, A, B	2:46
			Finding C	4:16
			Finding D, E, F, G, A, B	4:39
		White Key Whole Step		5:08
			Half Steps	5:44
			Whole Steps	5:59
			Identifying Half and Whole Steps	6:19
			Pattern of Half and Whole Steps	7:38
		White Key Half Step		8:07
			Sounds of Half Steps	8:30
		Treble Clef C D E F G A B		9:21
			Writing Treble Clef Notes on the Staff	9:42
			Listening to Treble Clef C, D, E, F, G, A, and B	10:30
			Drawing Bar Lines	11:12
		Bass Clef C D E F G A B		11:30
			Listening to Bass Clef C, D, E, F, G, A, and B	12:10
			Drawing Bar Lines	12:52
		White Key Whole Step and Half Step		13:19
			Writing Whole Steps on the Staff	13:38
			Writing Half Steps on the Staff	15:03
		Example 1: Writing C D E F G A B in Treble Clef		15:59
		Example 2: Writing C D E F G A B in Bass Clef		16:48
		Example 3: Writing White Key Whole Steps		18:53
		Example 4: Writing White Key Half Steps		19:57
		Example 5: Finding C D E F G A B on the Keyboard		20:47
		Example 6: Finding White Key Whole and Half Steps		21:55
	Identifying Black Keys			27:22
		Intro		0:00
		Lesson Objectives		0:14
		Sharp Keys C# D# E# F# G# A# B#		0:31
			Sharp Something by Raising it by a Half Step	0:45
			Listening to Sharps	0:50
			Finding Sharps on the Keyboard	1:38
			White Keys That Are Also Sharp	2:19
		Flat Keys D Flat, E Flat, F Flat, G Flat, A Flat, B Flat, C Flat		2:25
			Finding Flats on the Keyboard	2:37
			White Keys That Are Also Flat	2:57
			Enharmonic Keys: One Note with Two Names	3:05
		Whole Steps Using Black Keys		3:20
			Two Half Steps = One Whole Step	3:50
			Finding Half and Whole Steps on the Keyboard	4:03
			Half Step + Half Step = Whole Step	5:27
		Half Steps Using Black Keys		5:58
			Writing a Sharp or Flat After the Letter	6:12
			Listening to the Chromatic Scale	6:50
			Chromatic Movement	7:22
		Writing Sharps on the Staff		7:32
			Middle Box Needs to Intersect the Line or Space That It's Referring To	7:37
			The Order of Sharps	8:09
			Sharps in the Bass Clef	8:27
			In the Staff, The Sharp or Flat Comes Before the Note	8:43
			Using Sharps While Ascending, Using Flats While Descending	9:07
		Writing Flats on the Staff		9:34
			The Order of Flats	9:37
			Using Flats While Descending	10:03
			Using Sharps While Ascending	10:19
		Writing Black Key Whole and Half Steps		10:26
			Playing Half Steps on the Keyboard	10:45
			Writing Whole Steps on the Staff With Sharps and Flats While Ascending and Descending	11:00
			Listening to the Example	12:02
		Example 1: Writing Sharp and Flat Notes in Treble Clef		12:58
		Example 2: Writing Sharp and Flat Notes in Bass Clef		16:56
		Example 3: Writing Black Key Whole Steps		18:08
		Example 4: Writing Black Key Half Steps		21:00
		Example 5: Finding Sharps on the Keyboard		24:06
		Example 6: Finding Flats on the Keyboard		24:47
		Example 7: Finding Black Key Whole and Half Steps on the Keyboard		25:18
	C Major Scale Whole & Half Steps			19:19
		Intro		0:00
		Lesson Objectives		0:11
		C Major Scale on Keyboard		0:24
			Pattern of Whole and Half Steps for Major Scales	1:49
		C Major Scale on the Staff		4:30
			Ascending and Descending Scales	5:18
		C Major Whole and Half Steps on the Staff		6:36
		Example 1: Writing out C Major Scale in Treble Clef		7:55
		Example 2: Writing out C Major Scale in Bass Clef		9:56
		Example 3: Illustrating the Whole/Half Step Pattern in C Major		10:50
		Example 4: Using the Whole/Half Step Pattern to Find a Major Scale on 'D'		12:37
			Writing D Major Scale on Staff	15:06
		Example 5: Finding and Playing C Major on Keyboard		15:50
		Example 6: Finding and Playing D Major on Keyboard Using the Whole/Half Step Pattern		16:23
			Finding and Playing F Major on Keyboard Using the Whole/Half Step Pattern	17:58
V. Intervals
	Major, Minor, Perfect & Numbered Intervals			27:50
		Intro		0:00
		Lesson Objectives		0:10
		Numbering Notes of C Major Scale on Keyboard		0:22
			Scale Degrees of C Major Scale	1:00
		Illustration of Major and Minor Intervals of C Major Scale		1:46
			Major 2nd (M2)	2:34
			Major 3rd (M3)	2:43
			M is the Abbreviation for 'Major'	3:04
			Perfect 4th (P4)	3:44
			P is the Abbreviation for 'Perfect'	3:50
			Perfect 5th (P5)	4:03
			Major 6th (M6)	4:18
			Major 7th (M7)	4:27
			Perfect 8th or Perfect Octave (P8)	4:42
			Listening to the Major Intervals on the Keyboard	5:15
			Minor Intervals of the C Major Scale	6:59
			Half Steps are Minor Intervals	7:50
			Hearing the Difference Between Major and Minor Intervals	8:47
		Illustration of Perfect Intervals in C Major Scale		8:56
			Listening to the Perfect Intervals of C Major	9:29
			Counting Half Steps of P4	10:05
			Counting Half Steps of P5	10:26
			Counting Half Steps of P8	10:43
		Numbering Intervals of C Major Scale on the Grand Staff		11:01
		Identifying Major and Minor Intervals of C Major Scale on Grand Staff		12:04
			Finding Major and Minor Intervals on the Grand Staff	12:38
			Every Whole Step is M2, Every Half Step is m2	13:48
		Identifying Perfect Intervals of C Major Scale on Grand Staff		14:13
			Drawing and Playing Intervals as Chords	14:57
		Example 1: Finding Major Intervals in C Major Scale		16:32
		Example 2: Finding Minor Intervals in C Major Scale		17:07
		Example 3: Finding Perfect Intervals in the C Major Scale		17:38
		Example 4: Writing Major Intervals of C Major Scale		18:45
		Example 5: Writing Minor and Perfect Intervals of C Major Scale		20:07
		Example 6: Writing Major, Minor and Perfect Intervals Independent of the C Major Scale		21:26
			Counting Half Steps of M3	22:57
			Counting Half Steps of P4	23:55
			Counting Half Steps of P5	24:43
			Counting Half Steps of M6	25:09
			Counting Half Steps of M7	26:14
		Example 7: Numbering Intervals		26:49
VI. Major and Minor Keys
	Circle of Fifths			24:55
		Intro		0:00
		Lesson Objectives		0:06
		C		0:21
			Circle of Fifths	0:33
			Relative Minor Keys	0:44
			Relative Minor Key to C is A Minor	0:56
			Listening to the C Scale	1:10
			To Find the Relative Minor, Go Down 4 Half Steps	1:20
			The Relative Minor Shares the Key Signature of the Major Scale	1:42
		C, G		1:58
			Relative Minor to G Major is E Minor	2:07
			Always Use the Natural Minor for Relative Minors	2:36
			Why It's Called the Circle of Fifths	2:59
		C, G, D		3:35
			Finding the Relative Minor of D Major	4:17
		C, G, D, A		4:42
			Finding the Relative Minor of A Major	5:03
			Relative Minor of A Major is F# Minor	5:10
		C, G, D, A, E		5:50
			Relative Minor of E Major is C# Minor	6:03
		C, G, D, A, E, B/C Flat		7:19
			Relative Minor of B Major / C Flat Major is G# Minor	8:00
			Listening to B Major and G# Minor	8:28
		C, G, D, A, E, B/C Flat, F#/G Flat		9:14
			The Relative Minor of F# Major / G Flat Major is D# Minor	10:04
			F# Major / G Flat Major and D# Minor Have Six Sharps / Six Flats	10:25
		C, G, D, A, E, B/C Flat, F#/G Flat, D Flat/C#		11:55
			The Relative Minor of D Flat Major / C # Major is B Flat Minor	12:24
			Listening to D Flat/C# Major and B Flat Minor	13:08
		C, G, D, A, E, B/C Flat, F#/G Flat, D Flat/C#, A Flat		14:06
			Listening to A Flat Major and F Minor	14:48
		C, G, D, A, E, B/C Flat, F#/G Flat, D Flat/C#, A Flat, E Flat		15:19
			E Flat Major Has Three Flats, And Its Relative Minor is C Minor	15:52
			Listening to E Flat Major and C Minor	16:00
		C, G, D, A, E, B/C Flat, F#/G Flat, D Flat/C#, A Flat, E Flat, B Flat		16:23
			B Flat Major Has Two Flats, And Its Relative Minor is G Minor	16:55
			Listening to B Flat Major and G Minor	17:10
		C, G, D, A, E, B/C Flat, F#/G Flat, D Flat/C#, A Flat, E Flat, B Flat, F		17:25
			F Major Has One Flat, And Its Relative Minor is D Minor	18:00
		Example 1: Play Circle of Fifths		18:31
			Writing the Major Keys of the Circle of Fifths	18:32
			Writing the Relative Minor Keys of the Circle of Fifths	20:20
			Listening to the Circle of Fifths	22:01
	Minor Scales			34:12
		Intro		0:00
		Lesson Objectives		0:06
		Natural Minor		0:42
			Natural Minor has Lowered Third, Sixth, and Seventh	1:49
			Lowering the Third, Sixth, and Seventh to Find A Minor	2:34
			Listening to the Difference Between a Major Scale and a Natural Minor Scale	4:28
		Natural Minor Continued		5:14
			Listening to the Difference Between a C Major Scale and a C Natural Minor Scale	5:59
			Writing C Natural Minor on the Staff	6:28
		Harmonic Minor		7:14
			Harmonic Minor Has One Difference from Natural Minor	7:19
			Review of Natural Minor	7:36
			In Harmonic, You Lower the Third and the Sixth, But You Keep the Seventh as it Would Be in a Major Scale	8:01
			Listening to the Major, Natural Minor, and Harmonic Minor Scales	9:05
		Harmonic Minor Continued		10:26
			Writing C Harmonic Minor on the Staff	10:43
			Listening to C Harmonic Minor	11:20
		Melodic Minor		11:47
			Melodic Minor Differs When Ascending and Descending	12:15
			Writing Ascending and Descending Melodic Minor on the Staff	13:00
			Listening to Melodic Minor	13:30
		Melodic Minor Continued		14:13
			Writing C Melodic Minor on the Staff	14:18
			Listening to C Melodic Minor	15:27
		Example 1: Writing Natural Minor		16:04
		Example 2: Writing Harmonic Minor		17:54
		Example 3: Writing Melodic Minor		19:35
		Example 4: Exploring Natural Minor Intervals		24:08
			Augmented = An Interval with the Second Note Raised One Half Step	27:07
			Diminished = Lowered Half Step	27:42
		Example 5: Exploring Harmonic Minor Intervals		27:52
		Example 6: Exploring Melodic Minor Intervals		30:19
	Key Signatures			32:43
		Intro		0:00
		Lesson Objectives		0:09
		Keys of G and D		0:16
			Writing and Listening to G Major on the Grand Staff	0:18
			Writing and Listening to D Major on the Grand Staff	1:36
		Keys of A and E		3:24
			Writing A Major on the Staff	3:25
			Writing E Major on the Staff	4:14
			Listening to A and E Majors	4:44
		Keys of B and F#		6:04
			Writing B Major on the Staff	6:06
			Writing F# Major on the Staff	6:54
			Listening to B and F# Majors	7:31
		Key of C#		8:47
			Writing C# Major on the Staff	9:40
			Listening to C# Major	10:11
		Keys of F and B Flat		10:34
			Writing F Major on the Staff	10:44
			Writing B Flat Major on the Staff	11:17
			Listening to F and B Flat Majors	11:46
		Keys of E Flat and A Flat		12:33
			Writing E Flat Major on the Staff	13:00
			Writing A Flat Major on the Staff	13:57
			Listening to E Flat and A Flat Majors	14:46
		Keys of D Flat and G Flat		16:12
			Writing D Flat Major on the Staff	16:20
			Writing G Flat Major on the Staff	17:04
			Listening to D Flat and G Flat Majors	17:48
		Key of C Flat		18:58
			Writing C Flat Major on the Staff	19:00
			Listening to C Flat Major	19:45
		Example 1: Order of Sharps		20:30
			Phrase for Sharps Backwards: Bead, G, C, F	21:15
		Example 2: Order of Flats		21:39
			Order of Flats is the Order of Sharps Backwards	21:41
		Example 3: Identify Keys of G and D		22:17
		Example 4: Identify Keys of A and E		23:55
		Example 5: Identify Keys of B, F# and C#		25:48
		Example 6: Identify Keys of F, B Flat and E Flat		27:56
		Example 7: Identify Keys of A Flat, D Flat and G Flat		29:58
		Example 8: Identify Key of C Flat		31:33
	The Major Scale in 12 Different Keys			37:10
		Intro		0:00
		Lesson Objectives		0:14
		C Major		0:40
		C# (D Flat) Major		2:14
			C# Major	2:24
			D Flat Major	4:12
		D Major		6:24
		E Flat Major		7:57
			Why E Flat Major is not known as D# Major	9:38
		E Major		10:26
		F Major		11:33
		F# (G Flat) Major		12:49
		G Major		14:59
		A Flat Major		15:38
			Why A Flat Major is not known as G# Major	16:11
		A Major		18:30
		B Flat Major		20:13
		B (C Flat) Major		21:15
		Example 1: Create a Major Scale on C		25:37
		Example 2: Create a Major Scale on D		26:10
		Example 3: Create a Major Scale on E		26:37
		Example 4: Create a Major Scale on F		28:36
		Example 5: Create a Major Scale on G		28:57
		Example 6: Create a Major Scale on A		29:32
		Example 7: Create a Major Scale on B		30:33
		Example 8: Create a Major Scale on C#		31:13
		Example 9: Create a Major Scale on E Flat		32:35
		Example 10: Create a Major Scale on F#		34:11
		Example 11: Create a Major Scale on A Flat		34:48
		Example 12: Create a Major Scale on B Flat		35:53
VII. Scale Degrees
	Scale Degrees			25:55
		Intro		0:00
		Lesson Objectives		0:08
		Tonic		0:25
		Supertonic		1:52
		Mediant		3:39
		Subdominant		5:03
		Dominant		6:53
		Submediant		9:13
		Leading Tone		11:10
		Altered Scale Degrees in Natural Minor		13:30
			Natural Minor has a Flat Mediant (3rd), Flat Submediant (6th), and FlatLeading Tone (7th)	13:58
		Altered Scale Degrees in Harmonic Minor		15:10
			Harmonic Minor has a Flat Mediant (3rd), Flat Submediant (6th), and Sharp Leading Tone (7th)	15:29
		Altered Scale Degrees in Melodic Minor		16:42
			Melodic Minor is Different Ascending and Descending	16:58
			Melodic Minor has an Ascending Flat Median (3rd), Sharp Submediant (6th), and Sharp Leading Tone (7th), but a Descending Flat Mediant (3rd), Flat Submediant (6th), and Flat Leading Tone (7th)	17:12
		Example 1: Finding the Tonic		18:34
		Example 2: Finding the Supertonic		19:18
		Example 3: Finding the Mediant		19:55
		Example 4: Finding the Subdominant		20:08
		Example 5: Finding the Dominant		20:30
		Example 6: Finding the Submediant		20:54
		Example 7: Finding the Leading Tone		21:16
		Example 8: Natural Minor Scale Degrees		21:45
		Example 9: Harmonic Minor Scale Degrees		22:26
		Example 10: Melodic Minor Scale Degrees		24:07
VIII. Accidentals
	Double Sharps & Flats			13:40
		Intro		0:00
		Lesson Objectives		0:12
		Review of Sharp		0:19
		Double Sharp		1:13
			X = Double Sharp	1:35
		Double Sharp In a Scale		3:58
		Review of Flat		5:59
		Double Flat		7:24
			Two Flat Signs = Double Flat	7:34
			Use of Double Flat In a Scale	8:12
		Example 1: Writing Double Sharps		11:02
		Example 2: Double Sharp Equivalencies		11:30
		Example 3: Writing Double Flats		12:11
		Example 4: Double Flat Equivalencies		12:42
IX. Rhythms
	3/4, Simple & Compound Meter			15:46
		Intro		0:00
		Lesson Objectives		0:10
		Time Signature of 3/4		0:18
			Top Number is How Many Beats per Measure, Bottom Number is What Note Makes One Beat	0:28
			3/4 Has Three Beats per Measure	1:06
		3/4 Continued		1:31
		Simple Meter, Duple Simple		2:21
			Duple Simple = 2/4	2:32
		Simple Meter, Triple Simple		3:01
			Triple Simple = 3/4	3:02
		Simple Meter, Quadruple Simple		3:38
			Quadruple Simple = 4/4	3:39
		Compound Meter, Compound Triple		4:02
			Compound Triple = 3/8	4:03
			3/8 = Three Eighth Notes Per Measure	4:28
		Compound Meter, Compound Duple or Simple Triple		5:13
			Compound Duple = 6/8	5:20
			6/8 = Six Eighth Notes Per Measure	5:32
			Simple Triple = 6/8	5:43
		Compound Meter, Compound Triple		6:42
			Compound Triple = 9/8	6:43
			9/8 = Nine Eighth Notes Per Measure	6:46
		Compound Meter, Compound Quadruple		7:41
			Compound Quadruple = 12/8 = Twelve Eighth Notes Per Measure	7:42
		Example 1: 3/4		8:53
			3/4 Has Three Beats per Measure	9:02
		Example 2: Duple Simple		9:30
		Example 3: Triple Simple		9:51
		Example 3 Part 2: Quadruple Simple		10:14
		Example 4: Compound Triple		10:39
		Example 5: Compound Duple or Simple Triple		11:06
		Example 6: Compound Triple		13:53
		Example 7: Compound Quadruple		14:37
X. Solfeggio
	Solfeggio			20:32
		Intro		0:00
		Lesson Objectives		0:10
		Movable Do		0:36
			Fixed Do	0:50
			Movable Do: When You Have the Tonic Note of Every Scale as Do	0:59
		Re		2:42
			Re is the Supertonic, or Second Scale Degree (2nd)	2:43
		Mi		3:47
			Mi is the Mediant, or Third Scale Degree (3rd)	3:55
		Fa		4:32
			Fa is the Subdominant, or Fourth Scale Degree (4th)	5:10
		Sol		6:01
			Sol is the Dominant, or Fifth Scale Degree (5th)	6:20
		La		7:02
			La is the Submediant, or Sixth Scale Degree (6th)	7:10
		Si (Ti)		8:54
			Ti was Introduced in America	9:00
			Si (Ti) is the Leading Tone, or Seventh Scale Degree (7th)	9:55
		Ear Training Do Re Mi Fa Sol La Si Do		11:03
		Example 1: Finding Do		12:30
		Example 2: Finding Re		12:42
		Example 3: Finding Mi		12:58
		Example 4: Finding Fa		13:32
		Example 5: Finding Sol		14:34
		Example 6: Finding La		15:08
		Example 7: Finding Si		16:02
		Example 8: Finding Combinations of Solfeggio Patterns		17:10
XI. Triads and Chords
	Major Triads			27:19
		Intro		0:00
		Lesson Objectives		0:06
		C Major Triad Root		1:00
			Three Notes Stacked on Top of One Another = Chord, and All Notes are Played at the Same Time	1:57
		C Major Triad Third		2:18
			What a Third is	2:21
			A Third is Five Half Steps Above the First Note, or the Root	3:06
		C Major Triad Fifth		4:27
		Finding The Third		6:20
			The Third is Always the Middle Note of a Chord	6:37
		Finding the Fifth		7:54
			Count up 4 Half Steps from the 3rd to Find the Fifth	10:07
		Transposing Triads		11:04
			Transposing	11:13
		Example 1: Triads on Black Keys		13:38
		Example 2: Triads on White Keys		18:41
		Example 3: Finding the Root		22:36
		Example 4: Finding the Third		23:22
		Example 5: Finding the Fifth		23:40
		Example 6: Playing a Triad on Every Key		25:22
	Minor Triads			32:03
		Intro		0:00
		Lesson Objectives		0:07
		C Minor Triad Root		0:35
			Finding the Root of the Chord	0:58
			Review of Major Triad	1:15
			How to Write a Minor Triad	1:28
			Writing the C Minor Triad on the Staff	1:57
			Major Triads are Labeled with an Uppercase I, But Minor Triads are Labeled with a Lowercase i	2:22
		C Minor Triad Third		2:39
			Using Half Step Pattern to Find the Third	2:55
			Finding the Minor Third Using 4 Half Steps	3:33
		C Minor Triad Fifth		4:06
			Using Half Step Pattern to Find the Fifth	4:24
			Finding the Minor Fifth Using 5 Half Steps	4:38
			Half Step Pattern of Major and Minor Chords are Opposite	5:39
		Finding the Third		6:13
			Converting D Major to D Minor by Lowering the Third	6:37
			Using Key Signature to Find Minor Chord	7:37
			Writing Out a D Minor Chord	7:54
		Finding the Fifth		8:22
			Finding the B Flat Minor Chord Using Half Step Pattern	8:54
			Playing a B Flat Major and B Flat Minor Scale	10:14
			Writing the B Flat Minor Chord on the Staff	11:09
		Transposing Minor Triads		11:42
			Finding the A Major Chord by Counting Steps	11:56
			Writing the Sharps of A Major	12:53
			Finding A Major on the Keyboard	13:23
			Finding A Minor on the Keyboard by Counting Steps	13:40
			Playing A Major Scale on the Keyboard	13:59
			Playing A Minor Scale on the Keyboard	14:10
			A Minor Doesn't Have Any Accidentals	14:40
			Finding D Flat Minor Chord	15:32
			The Only Difference Between a Major and Minor Chord is the Third	16:54
		Example 1: Finding Minor Triads on Black Keys		17:01
			Relative Major and Minor	20:50
		Example 2: Finding Minor Triads on White Keys		23:08
		Example 3: Finding the Root		26:50
		Example 4: Finding the Third		27:13
		Example 5: Finding the Fifth		27:27
		Example 6: Playing a Minor Triad on Every Key		29:24
	Augmented Chords			21:08
		Intro		0:00
		Lesson Objectives		0:10
		C Augmented Chord		0:29
			The Third of an Augmented Chord is the Same as the Third of a Major Chord	0:55
			There are 5 Half Steps Between the Root and Third of an Augmented Chord	1:14
			There are 5 Half Steps Between the Third and the Fifth of an Augmented Third	1:31
			Writing an Augmented Chord on the Staff	2:33
			How to Label an Augmented Chord	2:49
		D Augmented Chord		2:57
			Counting Half Steps to Find the D Augmented Chord	3:03
			Listening to the D Augmented Chord	3:45
		E Augmented Chord		4:21
			Counting Half Steps to Find the E Augmented Chord	4:31
			Writing the E Augmented Chord on the Staff	5:16
		F Augmented Chord		6:19
			Counting Half Steps to Find the F Augmented Chord	6:26
			Listening to the F Augmented Chord	7:28
		G Augmented Chord		7:53
			Writing the G Augmented Chord on the Staff	8:04
		A Augmented Chord		8:30
			Counting Half Steps to Find the A Augmented Chord	8:40
			Listening to the A Augmented Chord	9:10
		B Augmented Chord		9:39
			Counting Half Steps to Find the B Augmented Chord	9:50
			The B Augmented Chord Has a Double Sharp	10:20
		Example 1: Playing C Augmented, Writing C Augmented		11:19
		Example 2: Playing D Augmented, Writing D Augmented		12:03
		Example 3: Playing E Augmented, Writing E Augmented		13:21
		Example 4: Playing F Augmented, Writing F Augmented		14:47
		Example 5: Playing G Augmented, Writing G Augmented		16:19
		Example 6: Playing A Augmented, Writing A Augmented		16:55
		Example 7: Playing B Augmented, Writing B Augmented		17:40
	Diminished Chords			19:05
		Intro		0:00
		Lesson Objectives		0:07
		C Diminished Chord		0:28
			Diminished Chords are Made Up of Two Minor Thirds	0:40
			Counting Half Steps to Find the C Diminished Chord	0:50
			Listening to the C Diminished Chord	1:20
			Reviewing the C Augmented Chord	1:41
		D Diminished Chord		2:34
			Counting Half Steps to Find the D Diminished Chord	2:38
			Listening to the D Diminished Chord	3:00
		E Diminished Chord		4:11
			Counting Half Steps to Find the E Diminished Chord	4:18
			Writing the E Diminished Chord on the Staff	5:16
		F Diminished Chord		5:24
			Counting Half Steps to Find the F Diminished Chord	5:30
			Listening to the F Diminished Chord	5:50
		G Diminished Chord		6:42
			Counting Half Steps to Find the G Diminished Chord	6:44
			Listening to the G Diminished Chord	7:05
		A Diminished Chord		8:29
			Counting Half Steps to Find the A Diminished Chord	8:50
			Listening to the A Diminished Chord	9:05
			Listening to the A Minor Chord	9:13
			Listening to the A Major Chord	9:25
			Listening to the A Augmented Chord	9:32
		B Diminished Chord		10:00
			Counting Half Steps to Find the B Diminished Chord	10:09
			Listening to the B Diminished Chord	10:27
			Listening to the B Augmented Chord	10:35
			Listening to the B Major Chord	10:42
			Listening to the B Minor Chord	10:45
		Example 1: Playing D Flat Diminished, Writing D Flat Diminished		11:42
		Example 2: Playing E Flat Diminished, Writing E Flat Diminished		13:05
		Example 3: Playing F# Diminished, Writing F# Diminished		14:01
		Example 4: Playing A Flat Diminished, Writing A Flat Diminished		14:51
		Example 5: Playing B Flat Diminished, Writing B Flat Diminished		16:36
XII. Figured Bass
	Roman Numeral Notation in Major & Minor			28:53
		Intro		0:00
		Lesson Objectives		0:09
		Major I		0:35
			Creating Chords on Every Scale Degree	0:50
			Review of Using Half Steps to Write a Major Chord	1:27
			Labeling a Major Chord as I	2:08
		Major ii		2:20
			ii is a Minor Chord	2:34
		Major iii		2:48
			iii is a Minor Chord	3:04
		Major IV		3:10
			IV is a Major Chord	3:12
		Major V		3:27
			V is a Major Chord	3:31
		Major vi		3:37
			vi is a Minor Chord	3:40
		Major vii0		4:10
			vii0 is a Diminished Chord	4:14
			A Diminished Chord is Two Minor Intervals Stacked on Top of Each Other	4:40
		Natural Minor i		6:24
			Review of Minor Scale's Lowered Scale Degrees	6:30
		Natural Minor ii0		6:59
			ii0 is a Diminished Chord	7:27
		Natural Minor III		7:38
			III is a Major Chord	7:43
		Natural Minor iv		8:01
			iv is a Minor Chord	8:17
		Natural Minor v		8:23
			v is a Minor Chord	8:55
		Natural Minor VI		9:04
			VI is a Major Chord	9:12
		Natural Minor VII		9:22
			VII is a Major Chord	9:28
			Review of Natural Minor Chords on Every Scale Degree	9:36
		Harmonic Minor i		10:44
			Review of Harmonic Minor Scale	10:52
		Harmonic Minor ii0		12:00
		Harmonic Minor III+		12:08
			III+ is an Augmented Chord	12:19
			An Augmented Chord is Made Up of Two Major Intervals	12:31
		Harmonic Minor iv		12:54
		Harmonic Minor V		13:08
		Harmonic Minor VI		13:33
		Harmonic Minor vii0		13:50
			Review of Harmonic Minor Chords on Every Scale Degree	13:56
			Listening to the Harmonic Minor Chords on Every Scale Degree	14:41
		Melodic Minor (Ascending) i		15:24
			Review of Melodic Minor Scale	15:33
		Melodic Minor (Ascending) ii		16:43
		Melodic Minor (Ascending) III+		17:13
		Melodic Minor (Ascending) IV		17:37
		Melodic Minor (Ascending) V		17:57
		Melodic Minor (Ascending) vi0		18:16
		Melodic Minor (Ascending) vii0		18:43
			Review of Melodic Minor Chords on Every Scale Degree (Ascending)	18:48
			Listening of Melodic Minor Chords on Every Scale Degree (Ascending)	20:06
		Example 1: Major Scale Chord Notation		21:02
		Example 2: Natural Minor Scale Chord Notation		22:58
		Example 3: Harmonic Minor Chord Notation		24:59
		Example 4: Melodic Minor Chord Notation		26:50
XIII. Chords and Inversions
	Seventh Chords			16:52
		Intro		0:00
		Lesson Objectives		0:11
		A Seventh Chord is a Triad With An Added Third		0:23
			Listening to a Seventh Chord	0:35
			Writing a Seventh Chord on the Staff	1:05
		Major-Major Seventh Chord, Major Triad + Major Seventh		1:18
			Listening to a Major-Major Seventh Chord	1:52
		Major-Minor Seventh Chord, Major Triad + Minor Seventh		2:29
			Notating a Major-Minor Seventh Chord with a 7	2:48
			Listening to a Major-Minor Seventh Chord	2:58
		Minor-Minor Seventh Chord, Minor Triad + Minor Seventh		3:34
			Listening to a Minor-Minor Seventh Chord	3:55
			Notating a Minor-Minor Seventh Chord	4:57
		Half Diminished Seventh Chord, Diminished Triad + Minor Seventh		5:06
			Writing a Half Diminished Seventh Chord	5:24
			Listening to a Half Diminished Seventh Chord	5:40
		Fully Diminished Seventh Chord, Diminished Triad + Diminished Seventh		7:18
			Writing a Fully Diminished Seventh Chord	7:34
			Listening to a Fully Diminished Seventh Chord	8:02
			Notating a Fully Diminished Seventh Chord	8:44
		Example 1: Major-Major Seventh		9:46
		Example 2: Major-Minor Seventh		10:50
		Example 3: Minor-Minor Seventh		11:54
		Example 4: Half-Diminished Seventh		13:07
		Example 5: Fully Diminished Seventh		14:42
	Chord Inversions			22:51
		Intro		0:00
		Lesson Objectives		0:07
		Root Position Triad (5)/(3)		0:15
			Root Position G Major	0:33
			What the 5 and 3 Represent	1:00
			Figured Bass	1:14
			Listening to the I Chord	1:55
			No Need to Write 5/3	2:15
		First Inversion Triad 6/(3)		2:22
			Why We Write the 6 but Omit the 3	2:39
			What First Inversion Means	3:17
			Listening to the I6 Chord	3:25
		Second Inversion Triad 6/4		4:21
			Fifth Note Becomes the Root	4:29
			What the 6 and the 4 Represent	4:42
			Listening to the I6/4 Chord	5:30
		Root Position Seventh Chord 7		6:47
			I7 Represents a Seventh Chord	6:55
			Listening to the I7 Chord	7:31
		First Inversion Seventh Chord 6/5/(3)		7:45
			Moving the Tonic to the Top to Create a First Inversion Seventh Chord	8:03
			Explanation of Notation 6/5	8:18
			Listening to the I6/5 Chord	9:55
		Second Inversion Seventh Chord (6)/4/3		11:14
			Moving the Tonic and Submediant to the Top to Create the Second Inversion Seventh Chord	11:25
			Explanation of Notation 4/3	11:52
			Listening to the I4/3 Chord	13:27
		Third Inversion Seventh Chord (6)/4/2		14:08
			Moving the Tonic, Submediant, and Dominant to the Top to Create a Third Inversion Seventh Chord	14:20
			Listening to the I4/2 Chord	15:05
		Example 1: A Major Root Position		15:47
		Example 2: A Major First Inversion		16:03
		Example 3: A Major Second Inversion		16:25
		Example 4: V7		17:48
		Example 5: V6/5		18:27
		Example 6: V6/4/3		18:59
		Example 7: V6/4/2		19:38

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