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Laura Ryan

Laura Ryan

Identifying Black Keys

Slide Duration:

Table of Contents

I. Music Theory
Music Theory

32m 43s

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

9m 30s

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

18m 5s

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

18m 44s

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

18m 49s

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

27m 57s

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

32m 58s

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

19m 11s

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

24m 46s

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

27m 22s

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

19m 19s

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

27m 50s

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

24m 55s

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

34m 12s

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

32m 43s

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

37m 10s

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

25m 55s

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

13m 40s

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

15m 46s

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

20m 32s

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

27m 19s

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

32m 3s

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

21m 8s

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

19m 5s

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

28m 53s

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

16m 52s

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

22m 51s

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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