Chords and Chord Progressions 201

Let's start with the basics.
Pedal tones have been around for as long as harmony has existed!  After all, what's more simple than harmonizing using one repeated note?  They are, simply put, chords over a repeated bass note.  From Indian music, to funk, jazz, and pop, this harmonic device can be found across the board.  Learn more about how to apply this concept within this class.

In the first course within this series, we had all examples in the keys of C major and C minor.  In this second course, we are now going to branch out and also experiment in the keys of A major and A minor.  This class summarizes these two keys so that you are prepared to apply them in the following classes.

Our first 4-note chord that we're going to explore is the dominant 7th chord.  A chord that represents tension and has a common way of resolving to the I chord.  This class talks about how to create a dominant 7th chord, and outlines some key principles when working with this type of chord.

This cadence is a great way to trick (decieve) the listener into thinking a certain type of resolution will occur, but instead the player takes an alternative route from the V chord to the vi chord (or V to bVI).  Learn more about how this progression can be applied within this class on deceptive cadences.

This class discusses chord progression that start on a I chord, and then play an additional chord before resolving with a plagal cadence.  ie. I-x-IV-I, where 'x' is generally one of four common options.

This class is perhaps one of the most important within this 201 course.  Inversions help us play more efficiently, work out proper voice leading between chord changes, and keep out of the range of other instrumentalists/singers.  In other words, inversions are imporant, so take this class seriously!

Slash chords are a great way to mix up a progression that you like, but want to spice up a bit.  When you play a chord in your right hand, but apply a note in the bass that is NOT the root, that's a slash chord!  This class will discuss some common slash chords, and break things down so you can have an intentional approach with how you apply these colourful chords.

These alternate cadences are used less than the standard I-V-I, I-IV-I, and i-V-i cadences that were discussed in the 101 course within this series.  That being said, they are still great options when experimenting with less conventional harmonic cadences, and should be part of your tools as a composer/performer.

It's important to know a few ways to spice up the progressions that you've already come to know and love.  This class helps you variate some of the chords that you know within your progressions to change the flavor/color of progressions that you feel need to be freshened up.

Sometimes, less is more.  This class discusses when notes within your harmony can be omitted, to help thin out an otherwise thick sound.  Sometimes we want rich harmony, but other times harmony that is too thick can end up sounding muddy.  That's why it's important to know how, what, and when to cut out notes from your underlying harmony.

To bridge the gap between our melody and harmony, it's quite common to use the right hand thumb to help stretch out the harmony between the hands so that everything feels connected.  These voices in the middle of the hands are your inner voices, and this class helps you understand how choose these inner voices appropriately.