Music Theory II is designed for any person who has already started their studies in western music theory. It is specifically tailored to students in a college or university setting in the United States, but it is perfect for anyone simply looking to learn, or improve their understanding of, music theory. What are the lessons like? Lessons are presented in short, information-dense modules s don't be fooled by the hour duration of the course.  Each video is written and constructed to be as concise as possible so that no time is wasted. Who teaches the course? Dr. Max Keller is currently an Assistant Professor of Music Theory at Andrews University. Who should take this course? Students of the previous courses: Music Theory Foundations and Music Theory I. College or university students taking the second semester of music theory. Anyone who has already begun their studies in music theory but wants to get a stronger understanding of 7th chords and non-chord tones.

This is the first of a series of in depth courses of harmony at the piano. This is not a course to play “by ear”, which is a really weak, amateurish, and inadequate approach. These shortcuts have NEVER worked. At best, the results are mediocre . In almost 30 years of studying 3 instruments and every area of music, I have never seen a really solid musician who cannot read music. This is not a course to learn to play 4 chords. This is not a course where there are “no prerequisites”. For this course, you need to be at least a serious grade 1 or 2 (Abrsm, Trinity College etc) pianist. The piano don’t need to be your first instrument, but you need to have practiced the piano seriously for at least a year . You have to be able to read music at a basic level, and know your major scales at the piano at least up to 3 flats and two sharps, and all the relative minors. By the way, being able to read music does NOT means “not using your ear”, which is a very popular, and completely mistaken, belief. People who read music use their ear all the time, and far better than anyone else, although this is never understood by people who don’t read music, because one cannot understand what he does not know. So if you do not read music, this course is not for you, sorry. I am just being honest. This is an intense harmony course. Don’t be fooled by the “short” duration: I edit out every useless SECOND, indecisions, long pauses, and every uhm, ah, or noises (I myself cannot stand any of these in an online lecture!). There is no “Let’s maybe try that” in this course. Every single thing is decided in advance. I myself never liked “maybe” lessons. My question is: “Does it works, or not? Unless it does, don’t waste my time.”. It takes me up to 45 minutes to edit a 2 or 3 minutes video. I add text while I speak, which expand explanations further. This course goes really fast, and you will often have to stop the video to read the text. I try to cram as much powerful info as I can, AND I don’t want to waste your time with “personal stories” and such rubbish. I don’t fill 7 hours with fluff and waste your time in the process. Lastly, this is not a course you watch once. You will have to review it. There will be things that you probably won’t get immediately: that’s fine, keep them in the back of your mind, but you will have to review everything, and probably multiple times. The good news? This is normal! The best things are not as easy as 1-2-3. But once you learned them, trust me, they are very, very powerful. I have seen this really well for myself. —— Learn the TRUE art of harmony from a system that was perfected over 120 years by TOP notch musicians and theorists (they often were both.) It’s sad. Everywhere I turn, I see products with written on: “The NEW way to learn music” and “The NEW way to learn X instrument”. “No music theory needed!”. “You don’t need to read music!”. This is all snake oil. A real musician HAS to learn all the above. This is like building a house: build it on sand, and it will go to pieces. And I am not speaking about learning to be a top composer: this training should be done even by songwriters, and pop and rock musicians. Instead, a beginner will spend years trying to “learn” without learning ANYTHING, which always, always ends in failure. I see lots of teachers telling how to create a minor seventh chord. Then they cannot go any further. But as a famous composer and teacher said: “A chord, taken in isolation, has no meaning. You need at least two to start creating something meaningful”. These other “teachers” , with their “new” systems, only try to reinvent the wheel, and only a REALLY bad one, which can’t even roll properly! The reality is, the secrets to learn to be a very solid musician, have been available for CENTURIES. It started in Italy during the Renaissance, and  it then developed ENORMOUSLY in Germany and Austria in the 1700’s and 1800’s. This is a system of harmony that was derived from the works of master musicians such as Haydn, Mozart, and Beethoven, the three emperors of classical music. Very acute theorists and musicians (they were both) saw that all these composers, although each were injecting their high dose of personality, were all following the same harmonic guidelines. This system turned me from an adult who never touched a musical instrument even as a teenager, to having COMPLETELY mastered electric and classical guitar, got me practicing advanced classical piano. I guarantee that even grade 6 or 7 classical piano, is harder than mastering the electric guitar. I am speaking of course about a VERY secure grade 6 or 7 pianist, not about a weak one. I trained my ear really nicely, and even allows me to write nice tunes while I am staring out of the window! I have HUNDREDS of really nice pieces for 3 instruments, ready to be completed. I learned to open a piano score, and arrange it almost in real time on classical guitar. I learned to harmonize known melodies, or my own, REALLY effectively. No “let’s maybe try this, or maybe that”. I will already know what works, in ADVANCE, and without the instrument! After I had learned this system by myself, I then took music theory lessons and piano lessons, only to find out that I was the only one in the class who was able to harmonize his own melody very effectively. Even my teachers were impressed. “That’s really good keyboard harmony!”, they said. I have NEVER believed I did not “need” to learn harmony, music theory, or sight read well at the piano, because I have always trusted that learning these things would pay dividends. And I was right. Are YOU of the same mind? Are YOU a serious musician, or a serious student, or both? Do YOU want to feel secure in your musical skills, because you KNOW they work, you SAW and HEARD the results? Do YOU want to be confident in yourself, no matter whatever musician is around you? This system will take time, but it is GUARANTEED to work. All others are the opposite: they give the illusion that you are getting something quickly, but in the end, the results are always highly inadequate. But this system will make you FEARLESS after you learned it. You will be way ahead of all these frankly pathetic “musicians” who keep stumbling in the dark for years, trying to do something that after all, should NOT take years, but a few months at most. Do YOU want to use the power of harmony and an high level harmonic skill, in YOUR own music? Do YOU want to stop fiddling on the instrument, noodling (this is probably one of the worst “musician’s diseases”)  trying to come up with “something that works”, that always turns up to be mediocre or weak ? Life is too short for noodling. And the art of harmony is much more than randomly selecting some chords and sticking them underneath a melody. There are many things you need to consider, and especially, there are many things you’ll KNOW in ADVANCE that they don’t work, or don’t work well, and when you know these things, you can save yourself a ton and a half of time everytime you harmonize a melody or come up with a strong chord progression. You see, the solid musicians of the past were about not only doing it well, but doing it QUICKLY. Otherwise how could they have written hundreds of musical works? Is it not strange that a Wagner could write an opera of over 5 hours, and most of today’s musicians can’t even read music and put together a short piece that sounds well? We will never be as good as Wagner, BUT we can still be solid musicians . And that IS good enough! Why should you use this chord, but not that one? Why should you use a first inversion here, instead of a root position? How can you take some bare chord and immediately enrich them with suspensions, passing modulations, and all these super effective tools? This seems all a mystery, but it needs not be. The very best musicians started to examine the works of other musicians, and immediately learned why that music sounded the way it sounded. For example, Bach studied the works of Vivaldi. Beethoven, those of Mozart. But these were geniuses. They could learn in a short while what the rest of us will take much, much longer, and will only learn a very small fraction of it. We are not geniuses, but we can be the best musicians WE can be. And this is good enough. But anything less than that, it is NOT! To me, it is shameful! PS. You have probably noticed that, unlike some other sellers, I am not selling hundreds of courses (and this is not at all a criticism about them or their courses!). In part this is because I haven’t been too long here on Udemy, but also because I vet the students /customers more, i.e. I do not teach complete beginners (not that there is anything wrong with them), and I never write “This course is for ALL” and “no requirements needed”. This course has requirements, and I am not trying to appeal to all. At all. This basically means that I sell less courses, but also that as a smaller seller I can and will answer to ANY questions you have about anything mentioned in the course. Just post ANY questions in the Q&A section of the course, and I promise I will answer to all, as helpfully as I can. Not only that, the best questions will be examined in a new video! If I were selling hundreds of courses, I could not answer more than a couple of student’s questions. But because I am a “smaller guy”, I can do what I mentioned above. And that is to your advantage. :) ——

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 2 of the Fundamentals of Melody and Harmony course. It assumes that you can already read music in treble and bass clefs, as described above. Students who have not yet mastered key signatures and scales should start with Part 1 . On the other hand, students who have already mastered intervals and chords may want to go straight to Part 3 . 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.

This course covers music theory material for musicians of all abilities looking to develop their knowledge up to an intermediate standard. We will work through Transposition, Irregular Time Signatures, Chords and Cadences, the Tenor Clef, Intervals, Instruments and voices and Performance Directions. With easy-to-understand concepts, the course is built up of concise videos covering various approaches to topics, with questions at the end of each video to test your knowledge (over 100 questions in total!). Includes BONUS performance directions glossary. *Grade 5 Theory is an intermediate level of theory knowledge and does not relate to any school years or groups.*

The course is designed to help those who want to learn the basics of Music Theory, as well as to those who prepare for ABRSM, Trinity, or similar board Music Theory Grade 1 Exam. The lectures include examples of how the knowledge can be used, and they are followed by quizzes to check student's understanding.

This video is not an ‘instrumental lesson’ it is not about technique? It is a way to think about melody and harmony that gives you the method and the tools, whatever instrument you play, or even if you don’t play at all? To confidently be able to create your own music? Maybe you have an interest in music and you want to understand more? Maybe you’re a D.J who wants to get a grip on creating and using chords and harmony? This video is for you!

This 32-video course will teach you powerful tools for performing complex rhythms and polyrhythmic cycles, especially those found in Western contemporary classical music, Indian classical music, and jazz. Concepts from the Karnatic rhythm theory of South India are generalized to illustrate rhythmic techniques that can be applied to any style of music and any instrument. Rhythms are learned using vocal syllables called Solkattu. Learn a college semester's worth of material from home. By the end of the course you will be able to perform complex phrases in odd divisions, polyrhythmic cycles up to 9:8, phrases in polyrhythmic frames, and more. You will acquire an exciting collection of raw material for composition and improvisation, as well as new techniques for interpreting scores with rhythmic complexities.

When tutoring music theory at the university-level, I would often see students who struggled in the classroom setting. Much of the time this is because everyone thinks and learns in a different way. What makes sense to some students, might have to be explained another way to others. I have designed this course to address this problem by explaining concepts through several different mediums and in various ways. This course is a standard, university-level music theory class. The material covered at universities in beginner music theory classes is the same material covered here, but here it does not cost nearly as much. Another benefit of this format is one can go through it at their own pace and are not rushed to complete everything throughout one semester. Once purchased, the student will have access to this class for life. So, students will be able to regularly review any concepts they might struggle with. This class is comprised of: Written lectures that operate as chapters for a simplified textbook Video lectures that cover the written material in depth Quick definitions guides for each lecture Exercises to test one’s understanding and answer guides to check each exercise Quizzes for each section Examples of topics covered in this course include: Reading pitch Reading rhythm Reading most other symbols in music notation Tempo Time signatures Tuplets Key signatures Keyboard pitch labeling Dynamic indicators Tone-color Solfège Scale degree numbers Intervals Quality Major and minor scales Modes and pentatonic scales Triads Seventh chords Figured bass Lead-sheet notation Chord progression construction And many more subjects pertaining to the aforementioned material This course is the first in a series that will cover the entirety of undergraduate level music theory classes. Students enrolled in this class will receive discounts on future courses of mine.

In this course you will learn how to read and sing Byzantine music. Those "hieroglyphs" you saw in some books will no longer be unknown to you. Arm yourself with courage and patience because something unprecedented awaits you. This amazing course will open for you a lot of doors in your development and not only. Sing Byzantine!

This course aims to consolidate musical information about how the musical staff relates to nature through the harmonic series. Basically, as sound vibrates, the proportions of those vibrations create overtones that have been observed for many centuries, if not thousands of years. Understanding how they relate to the musical staff can deepen one's theoretical understanding of chords and scales. This is definitely the course for a musical beginner looking to learn more!