
This lesson introduces the entire Music Theory Classroom curriculum and ends with a bridge to the first lesson of both Fundamentals courses.
This lesson may be inserted when you need a break from the regular material, any time after Lesson 18 of Fundamentals of Melody and Harmony.
Octave identifcation is a quick way to specify exactly which pitch we are talking about. We also learn symbols that can help us avoid excessive ledger lines, and define the term pitch class.
Some instruments (and voices) are used to reading pitches that are written in a different octave from the actual sounding pitches.
Each note of the scale has its own name. Also, there are two more clefs that are important for the music student to learn.
Before the development of the major-minor tonal system, composed music was usually in a mode.
Pentatonic and blues scales outline the pitch collections found in many popular and folk songs.
The whole-tone and octatonic scales are used in music from after the common-practice era, so you will not use them in the diatonic and chromatic harmony courses, but they are often covered in a fundamentals course like this one.
You can continue to stack thirds on top of seventh chords!
Music Theory Classroom is a four-course, one- to two-year music theory curriculum designed for high-school and homeschool students. It covers the material studied by music majors in the first one to two years of college, but it is structured so that a diligent student can complete it in three 14-week terms.
The four courses in the curriculum include: two Fundamentals courses which are intended to be taken concurrently, followed by Diatonic Harmony and then Chromatic Harmony. Each course has 28 lessons, so the recommended pace is approximately two lessons per week (when taking the Fundamentals courses, this means two lessons from each of the two courses). Students should feel free to move more slowly if the material is completely new.
This is Part 3 of the Fundamentals of Melody and Harmony course. It assumes that you can already read music in treble and bass clefs and know scales, intervals and chords, as described above.
Students who have not yet mastered intervals and chords should start with Part 2. Students who have not yet mastered key signatures and scales should start with Part 1.
Note: Some lesson numbers appear out of order. Even though they're distributed across the three parts of the course, the lessons are numbered in the suggested order.
Fundamentals of Melody and Harmony contains 28 lessons in three parts. All three parts interlock. Part 1 (lessons 1-4, 8-9, 11-14) includes the basics of reading pitches on the staff in treble and bass clefs, including key signatures and major and minor scales. Part 2 (lessons 5, 15-18, 20-21, 23-24, 26-27) covers the rest of the theory fundamentals needed to prepare students for Diatonic Harmony: intervals, triads and seventh chords. Part 3 (lessons 6-7, 10, 19, 22, 25, 28) includes topics that are part of a complete fundamentals course, but may not have been learned by students who already know the material in Parts 1 and 2. These include octave-transposing clefs, C clefs, modes and some other scales, and extended tertian chords.
For a more complete description of the curriculum, check the MusicTheoryClassroom dot com website.