
-review of the Circle of 5ths, visual memorization of both key signatures and key placements in the Circle of 5ths, as well as two helpful riddles to memorize keys containing sharps or flats.
-review of harmonic and melodic intervals, measurement, qualities, and inversions
-review of major scales and relative minor scales, and learning how to construct and memorize scales based on their position in the Circle of 5ths, as well as by intervallic recipe, and by ear.
-review of diatonic triads, intervallic construction, qualities, and inversions, in both solid and broken form, as well as memorizing triad qualities and spellings in all 12 keys.
-review of the diatonic functions of Tonic, Subdominant, and Dominant and their expected behaviours and resolutions.
-review of Diatonic 7th chords, intervallic construction, qualities, inversions, and harmonic function, in both solid and broken form, as well as memorizing chord qualities and spellings in all 12 keys.
-review of the construction and harmonic function of Dominant 7th chords, as well as the expected resolution and behaviour of the tritone.
-students will discover chords and harmonic progressions in other tonal centres (keys) by making substitutions to the original harmonizations with chords that share the same spellings and qualities in other keys. This ability will allow the student to compose, improvise, or reharmonize music into tonal centres that may be distant and unrelated from the current tonal centre, but provides contemporary sounds and a destination that may not have been available or known to the student based on their use of basic theory.
-a harmonic analysis of an excerpt of Sonatina, op.68, No.2, by Diabelli, featuring pivot modulation.
-explanation of the derivation of Secondary Dominants and their functions as non-diatonic chords in diatonic settings, as well as their expected resolutions. Between Pivot Modulation and Secondary Dominants, students will learn and hear the possibilities of the amount of tonal centres that may be accessed or implied while amidst the original tonal centre (key) of a song.
-listening and harmonic analysis of an excerpt from Mendelssohn's Songs Without Words, Op.102, No.3, featuring secondary dominant V7 of V
- listening and harmonic analysis of an excerpt from Beethoven's Sonata No. 31 in Ab Major, Op. 110, featuring secondary dominant V7 of IV
- listening and harmonic analysis of an excerpt from Chopin's Etude, Op. 10, No. 8, featuring secondary dominant V7 of vi
- listening and harmonic analysis of an excerpt from Schubert's Symphony No. 8, 2nd Movement, featuring secondary dominant V7 of iii
- listening and harmonic analysis of an excerpt from Mozart's Piano Concerto No. 17 in G Major, K.453, featuring secondary dominant V7 of ii
-listening and harmonic analysis of Hank Williams "Your Cheatin' Heart", featuring secondary dominant V7 of V
- listening and harmonic analysis of Sam Smith's " Stay With Me" & "I'm Not The Only One", featuring secondary dominant V7 of vi
-listening and harmonic analysis of Patsy Cline's "Crazy", featuring secondary dominant V7 of ii
-listening and harmonic analysis of Elvis Presley's "Can't Help Falling in Love", featuring secondary dominant V7 of iii
-listening and harmonic analysis of Norah Jones " Don't Know Why", featuring secondary dominant V7 of IV
-by employing all of the techniques learned in the course, we discover multiple re-harmonizations and harmonic choices for the song "Amazing Grace", demonstrating how simple harmony can yield rich, harmonic progressions and new sounds in your music.
This course is designed for the amateur musician of all styles and abilities who is desperate to enhance their musicianship, by way of the mastery of basic theory, harmony, melody, and ear training. Whether you are a composer, arranger, songwriter, or improviser, this course will teach you how to discover new harmonies and melodies within the music that you create, as well as re-harmonizations within the songs that you love! A strong foundation in basic music theory will allow you to grasp the more advanced concepts by the end of the course, at which time you will not only be creating new and original sounds within music that you perform, but you will be creating new and original sounds within the music that you CREATE as a composer, arranger, songwriter, or and improviser!
This course focuses on the harmonic functions of Tonic, Subdominant, and Dominant (I, IV, V) within the major scale and their expected behaviours and resolutions. By mastering their qualities and tendencies, you will be able to manipulate their behaviours within a harmonic setting, while at the same time, discovering new harmonies and melodies that can lead to or from these chords. This knowledge will strengthen your musicianship as well as your ear training and your awareness within your musical settings, but most of all, you will be making musical decisions along the same lines as the pros that you love! And you will never run out of original material or inspiration, as the manipulation of basic concepts will yield endless possibilities for harmonic progressions.
Check out the lecture previews below, and you will have a better understanding of how the course progresses. We even have a whole section focusing on Classical and Pop progressions that use the very tools that you will be learning here!
Have fun, and I hope that you'll be happy with the musician that you become after your journey with I, IV, V....And Beyond!