Berklee Music Theroy Syllabus | Minor Scale | Chord (Music)

Music Theory 101 Lesson 1: Rhythm Part I • • • • Pulse Meter Notes Rhythmic Notation Activities

Lesson 2: Rhythm Part II • • • • • Eighth Notes Beaming, Dots, and Ties Rhythmic Notation Tips Rhythmic Dictation Activity Rhythmic Notation Activity

Lesson 3: Pitch Notation • • • • • • • ABCs of Pitch Notation Treble Clef Notes Bass Clef Notes Grand Staff Octaves Accidentals: Sharps, Flats, and Naturals Enharmonics

Lesson 4: Major Scales • • • • • • • Half Steps and Whole Steps Chromatic Scales Whole Tone Scales Major Scales Other Major Scales Key Signatures Scales and Key Signatures

Lesson 5: Minor Scales • • • • • • • • The Minor Scale Sound The Relative Major/Minor Relationship Parallel Minor Harmonic Minor Melodic Minor The Descending Melodic Minor Scale The Real Melodic Minor Scale Minor Scale Key Signatures

Lesson 6: Intervals • Interval Number Names

• • • • • • • Interval Sound Unison Perfect and Major Intervals Major vs. Augmented Compound Intervals Lesson 7: Chords I: Triads • • • • Major Triads Minor Triads Diminished and Augmented Triads Chord Symbols Lesson 8: Triad Inversions • • • • Triad Inversions Bass/Chord Theory Voice Leading Parallel and Contrary Motion Lesson 9: Chords II: Basic Seventh Chords • • • • • • The Major Seventh Chord The Dominant Seventh Chord The Minor Seventh Chord The Minor 7 The Diminished Seventh Chord Chord Symbols and Review Lesson 10: Inversions and Voice: Leading of Seventh Chords • • • • Inversions of Basic Seventh Chords Positions of Basic Seventh Chords Voice Leading Seventh Chords Voice Leading: Two Ways Lesson 11: Using the Lead Sheet • • • • Harmonizing the Melody Creating Harmonic Accompaniments Voice Doublings Increasing Activity in the Bass Lesson 12: Melody Writing • • • Making Melodic Connections Repeating Phrases Sequences . Diminished Perfect/Major vs. Minor Intervals Perfect/Major vs.

Music Theory 201 Lesson 1: The Imaginary Bar Line • • • The Imaginary Bar Line Note Values Smaller than the Half Note Rest Values and the Imaginary Bar Line Lesson 2: Diatonic Triads and Seventh Chords in Major • • The Construction of Diatonic Triads Diatonic Seventh Chords Lesson 3: The Harmonic Function of Diatonic Chords • • • The Terms Tonic. Subdominant. and Dominant Harmonic Cadences The IImin7 V7 IMaj7 Progression Lesson 4: Additional Chord Types • • • Two Additional Dominant 7 Chords Two Additional Major Chords Two Additional Minor Chords Lesson 5: Harmonic Function and Voice Leading of Additional Chord Types • • • The Major and Minor 6th Chords The Minor and Augmented Major 7th Chords The Augmented 7th and Dominant 7(sus4) Lesson 6: Diatonic Chords in Harmonic Minor • • • Diatonic Chords in Harmonic Minor Diatonic Function in Harmonic Minor The II V7 I Progression in Minor Lesson 7: The Upper Structures of Harmony/Tensions • • • The Theory of Tensions Altered Tensions The Melodic Use of Tensions Lesson 8: The Harmonic Use of Tensions • • • Substituting the 9th for the Root Substituting the 13th for the 5th Using Altered Tensions .

Straight Eighths • • • Eighth and Quarter Note Triplets . Straight Eighths .Comparison to Major Dorian.Theory / Notation Eighth Note Triplets as Basis for Swing Eighths Swing Eighths vs. Phrygian .• Using the 11th Lesson 9: The Rhythmic Anticipation and Articulations • • • The Rhythmic Anticipation Short Durational Value Anticipations Articulation Markings Lesson 10: Simple Binary Song Form • • Examples of Simple Binary Form Other Types of Variation and Contrast Lesson 11: The Blues Form and Style • • • The Blues Form The Blues Style and Its Effect on Harmony The Blues Style and Its Effect on Melody Lesson 12: A Closer Look at the Dominant Seventh Chord • • • Voice Leading Dominant Seventh Chords with Tensions Stripping the Dominant Seventh Chord down to the Basics Adding a Third Voice to the Dominant Seventh Chord Music Theory 301 Lesson 1: Triplets and Swing vs.Comparison to Natural Minor Writing Modal Melodies . Root Motion/Bass Lines • • • The I VI II V I Chord Pattern Voice Leading the I VI II V I Chord Pattern Root Motion and the Bass Line Lesson 4: Modal Scales • • • Lydian and Mixolydian .Musical Application Lesson 2: Open Position Chords/Drop 2 Voicings • • • The II V I Progression in Two Positions of Drop 2 Extended Progressions Using Alternating Positions Variations on the V7 Chord Lesson 3: I VI II V I Progression. Aeolian.

Common Applications The Dominant Pedal .Mixing and Matching Scale Types • • • Theory of Minor Scale Type on Each Chord Application of Theory in Variety of Keys Recognition/Analysis/Ear Training Lesson 9: Sixteenth Notes • • • The Sixteenth Note Sixteenth-Note Anticipations Double-Time Feel Lesson 10: Pentatonic Scales • • • Constructing Pentatonic Scales Fitting Pentatonic Scales over Chords Writing Pentatonic Scale Melodies Lesson 11: Slash Chords • • • The Dominant (sus4) as Slash Chord Other Chord Types Written as Slash Chords Recognition/Analysis/Ear Training Lesson 12: Bass Pedals • • • The Tonic Pedal .Common Applications Recognition/Analysis/Ear Training .Lesson 5: Chord Scales in Major Keys • • • Chord Scales as Chord Tones Plus Passing Tones from Key Theory of Avoid Notes Writing/Analyzing Melodies Using Chord Scales Lesson 6: Approach Note Theory • • • Theory of Diatonic and Chromatic Approach Notes Writing/Analyzing Melodies Using Approach Notes Ear Training Lesson 7: Diatonic Chords in Natural/Melodic Minors • • • Construction of Diatonic Chords in Melodic Minor Construction of Diatonic Chords in Natural Minor Recognition/Analysis/Ear Training Lesson 8: II V I and I VI II V I in Minor .

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