The Ultimate Guide To Music Theory (2022)

1. Intro Video & Course Structure!: Music theory and knowing videos, courses that haven't been updated for ten years. Have you ever asked yourself, Am I doing something wrong right now? You want to learn music theory. And if very funny and interactive way are researching, searching for this course that can teach you every single point in this topic. Well, let me introduce myself first. Hello there my future students, I'm trying to if founder of JK skulls and I'm super excited to teach you everything you need to know about music theory. I have helped hundreds of my students to learn music theory from a complete beginner with very satisfying results. And I'm willing to do the same. Introducing our learning. Then I'll sort by making sure that you know everything about this stuff while using lectures. Pull up the slides and explanations and professional way, not just memorizing patterns and sentences like robots. Then I'll introduce you to scales and intervals. And section 34, after that role, directly jump to the triads and seventh chords to discover many types of them and how to use them in music. And unlike other courses where they just immediately starts with them, we'll take our time, discovered how they work in a way that will help you not only to discover how to build them, but know how to use them properly and use it. Remember, goal is to apply every single information that will be taking. That's why I have plenty of challenges during this class. And even if you're not figure out how to do the chairs, don't worry, I'll be here to help you. After you will try and complete the challenge with you, then will study much more advanced information from different cadences, do non-chord tones and much more exciting things. This thing right here that you'll watch after this video, literally more than 230 hours of dedicated whoops. Script. Tons of slides to how to improve and understand better what will be taken during the semester class than before. And gate. And the bonus section where we dealt deeper than any other course. I will give you a small idea on how to compose and write your own songs to add discourse in a very special way. Whatever level you are. I'm sure that you'll learn a lot from this course. I will guide you toward every single detail in this topic. So if you found that interesting, and let's jump into this adventure, then give it a try, and I'll be waiting for you on the other side. 2. Section 1: How To Use This Course?: So before starting this course on, just to make sure that everything is clear and you know how to use this course. Why? Because you'll understand more the way that we'll be working with. So first, the software that we'll be using is called music score. So you can simply go download it and Google downloads music score. Okay, MuseScore like this. You click on the first one, you score dots or G. Okay? And then you click onto window download for Windows or Mac, it depends on your computer. Then it will start downloading right here. Okay, so on the bottom left, when you finish downloading music score, you'll get a folder. So open it and then run the program. And then this window will pop up right here. So you simply click on create new scores. Now before I have created scores before, I have this three windows before. So it may be blank in your computer. So click new scores and then the title, and then treble clef. Okay, So we'll see later on in this course, how are we using this? Now, let's see the course structure. So in the first section, we will study the basics of saf reading. For example, the G clave, the app glove, different rhythms and subdivisions, time signature, dots and rests, and ties. Okay, So if you do know what these things before, please do skip this section because it's not for you. If you're struggling a bit, just stick to the end and you will get an idea on how to read the staff quickly. Then in section two will understand the black notes pattern. For example, the sharps or flats have subs, the whole staff, the double flats, double char. We'll see all of these things in this section. I think if you're a musician before, you probably know them before. So if you know them, please do skip to section three, where we will learn the major and minor scales. So here we'll learn the scale degrees, the major scale pattern, the key signature, and how to move from the key signature to the key, the relative minor, and some of the pattern of it. Then we'll move to the section four where we'll study the intervals. Now, here we have many types of intervals. We have the second, the third, the fourth, the fifth, perfect fourth, major six major third major second, minor second. We'll see all of these things. And this section, then we'll move to the section five. We are, we are going to jump into the triad words. Now, here we'll study the major chords because in the previous section, we learned the intervals. For example, we learned the major third. Now from these major third, we are going to build the triad words. Now here, for example, triad words. I have major triad, the major chord that is third major, third minor, we have the minor, we have the inversions also. We will also study the Roman numeral and function and some of the advanced score types, for example, the augmented and diminished. Then we'll move to the section seven, where we are going to study the seventh chords. Then we'll move to this section six, where we are going to study the seventh chords. Now here also based on the triad words, for example, major chord. I'll add a third major to this major chord, and we'll get a major seventh chords, then the minor seventh, the dominant seventh, and also the inversions of them, because triads are three notes right now here seventh chords are four nodes. So we have three inversions and the seventh course, and we have two inversion and the triad. Then we'll study also the fully diminished, they have diminished and also the minor, major seventh chords. Then we'll move on to the section seven, Where we are going to see the minor in music. For example, we have the natural minor D harmonic minor. Melodic minor will see all of these things in details. Moving to Section eight, we are, we are going to learn, for example, the dynamic, the tempo that transposing musical instrument, and how they work. For example, if I play C, transposing instrument are here, D will see all of these funny things in this course. I also did dynamics, for example, piano, forte and the tempo and how I move faster and my music than this section nine, where we study the cadences here and the cadences we have many types. For example, the plague goal, the PAG, the hack half authentic cadence, and the imperfect cadence, deceptive cadence, and how to locate them and how to also build them and the music. Because in the next section we are going to study the NCT. What is NCT? Non-chord tones? Now here, there are tones that are strange to the key. We will see, for example, the passing, the neighbor, the appoggiatura, they escaped on the anticipation paddles suspension retardation will see all of these and CT and this course. Then we'll move to the modulation and demodulation. We have some tricky things because it's a little bit hard to learn the modulation. I put it at the end of the course because you will have an idea of all of the things above before moving to the modulation and also the song analysis. And to make sure that you are enjoying our learning and our course, I have added some of the popular songs to our song analysis. For example, someone like you, My heart will go on. So we'll be enjoying more and you'll have an idea before of the songs that we'll be analysing. Then the last section, that is section 12, the bonus section, we are going to study here how to create your own music. This is a bonus section I have added to the scores to end it in a very funny and in a very beautiful way, how to create your own music. For example, we will see how to add my own cords, how to create my melody, and how to make stronger the beads, for example, how to add this entity that you have learned in this section ten then add some cadences and some, for example, dynamics. We'll study all of these things at the end of this course. So I hope you are excited to start this course. If you have any questions, just leave me down below and don't forget to do all of the challenges. Because when you see this right here, it means you have to do a challenge. So make sure that when you see it, you have to pause the video and go do the challenge. So hope you're excited to learn everything about music theory, and we'll see you in the next video. Bye-bye. 3. Vid 2.1: Manipulate Sight Reading.: Okay, So in this section we are going to learn many things about basics of music theory because we will need them later on in this video, we're going to learn the G-Clef. So first thing, let's open a new file. You simply click right here File New. Then you click the type. Let's name it sight-reading, okay, that is the title of this lecture. Sight-reading. You choose the treble clef, this one, okay? Then you click Next. Keep them like this. Then this one, I guess it's 32 on your computer, but if you want, put it on ten because we don't need more measures. So what is a measure? Let's start with this definition. We don't have to memorize anything. Measure is like this, is this bar. We simply divide the staff. What is staff serve as the group of the five lines. Okay, so what we have right here, we have this staff, which is the group of five lines, and we have the bar that divide the stuff. How to count the bar. We have one bar, two bar, three bar, okay? And the American system we call it measures, but you can call it bar. It's the same. So now what we will have n, this stuff, we can't place nodes, right? So how many nodes we can fit in this stuff? I mean, between the lines, how many nodes I can fit between the lines? 1234. So let's place them one and four. So we can fit four nodes between the lines, only between the lines y, because I have five lines between the first and the second, I can fit this, this and this. Okay? So now let's save these notes. We have right here. Denote f. We add like this texts Roman numeral. Then you place than space to move on to the next one, a, C. Then denote to place a node. If I want to place any notes, I simply press N, This right here, and then left-click to the notes. I can place an outright here, I can place an alternative. Or if you want, there is a shortcut on the keyboard and you press N, and then you answer, you left-click the nodes. So here we have the note F, a, C. Why we named them like this. Because we have something called the phase methods. What is the first method is the reference notes that will guide us through the notes. So here what you will have and the F-A-C-E. will start filling the notes than a C, Then, okay, between the note F and a, what we will have if we count the alphabet a, B, C, D, E, F, g. So g, Then after denote a, AB. Okay? Then here, C, D, E, F. I don't want you to remember and study them. We don't need to study music. We have just its logic. Why? Because, okay, so how do we know this notes? Let's delete these notes right here. And then let's see, right here. It's a reference node. Why? Because it's part of the face methods. What is the face battered? It's F, a, C, E. Okay, so let's try the name of the notes. Remember how to add text, and then the Roman numeral, space G, space a space b. And then you continue, see the E denote f. Okay? So here what you will have, I wrote the notes from F to F. Now let's do a quick exercise. Let's delete these nodes. You just select the measure and then if you want to click Control Alt, select them all and then delete. We did everything. If I want to know this note, what is this nodes? It is part of the face methods, so it's a reference node and it's denote a. If I want this note, it's part of the face method and it's the note C. If I want this node, it is after the notes here. You see how we are counting. If we have enough to write here, how to count the nodes on the line and the line on the line and the line. Then each time you add a line, so here we will have G, a, B, C. Each time we add all the line and the line on the line and the line. Okay, you see how we are doing it? Okay, so now let's try the notes from the beginning. I will start with the notes. Okay, this is a new note. You have to remember it. The C refers to all the nodes. It's especially among all these 50 nodes, they are more than 50, but we will see only this empty line on the line and the line on the line. Let's continue on and on. Okay, So I wrote the notes from C to C. So here what you will have after the note C right here, this is the note C, okay? C, D, E, F, G, a, B, C. Sorry. Okay, I see. So this is the idea of the site running. Hope you know each node that you have. Name it. If you want, we can name it like this. C, D, E, F, G, a, B, C, than repeat them. D, E, F, G, a, B, and C. Okay, you see how we are doing it? They are so easy. You just need a little bit of practice and you'll be able to play them easily. Hope you enjoyed this lecture and I'll see you at the next one by one. 4. Vid 2.2: Ledger Lines.: So in the previous video, we learned about sight-reading. Now in this short video, I want just to introduce a small idea about ledger line. What our ledger line, if I want to go down from denote, see, we'd mentioned that the CEF is formed by five lines. But on the piano keyboard right here, to pop this piano keyboard, you press the letter P on the keyboard. I have so many notes. Imagine all these nodes. I want to fit them in the surf. I can, I can add new lines, so let's see it. We can just like this or I can't lines and then play them. Okay, so how do I calculate them? If I want to go down from denotes here, we mentioned that the line on the line, and if I want to go down, it will be under, under. And every time I move on to after the end under I add align, add one line. And it's the same thing right here. If I want to go up from denotes here, it's on the line and the line. So here it will be on the line, correct? And here I have to add one line. Okay. Then add this one than this one, okay, but we, there are not that common in music. Just a small reminder or small quick information to see because we might see them later on in this course. If you want, we can name them. So can you help me? This is the note F, G, a, B, and then we continue normally. And then after the note C, What do we have? D, E, F, and G. Okay, so you see how we are doing it. Every time I want to go up, it will be n on, n on, if I want to go down and under N, under and under. So this is the idea of ledger line. Hope you understand it. And I will see you in the next video. 5. Vid 2.3: Magic Way To F Clef Reading.: So we finished with the G-Clef reading the ledger lines. And now it's time for the F clef. What is the F clef reading? First thing, we have to know something in music. We have two things. We have the G clef, which is the melody, and then we have the support, it's the afterlife. So in this lecture we will study the afterlife and how to read it on this stuff. So first thing, we have to go to a music score. Okay, let's create a new file right here. Call it F clef, reading. Then you choose hear the bass clef. Why the bass clef? Because we were learning with the treble clef, which is the G-Clef. We can call it both trouble or G-Clef, or here we have the bass clef or the F clef. They are the same. Next, and then here choose simply tan, and then you click on Finish. Let's remove the piano recipe. Okay, so we change the page view to single. It will be better. So here what you will have, why we call it the afterlife first thing, because this nodes right here is to denote f. Will study how to notes. Okay? So I don't want you to, to study by heart music. We have just to know from where we will get the names. I will return to the afterlife reading slides. So how to know the half-life? If I have this nodes and I want to know what is this node, how to read it? What do I do? First thing, I transform it to the G-Clef. I simply change with the symbols. Instead of writing the F clef, IRR, the G-Clef. Instead of writing the bass clef are the treble clef. They are the same. Then I add two. Okay, so here this note, what is this note and the treble clef. It has denote a. So I add two to denote a. It will be a, b, c. So it's the note C. So this is known as the note C. Then you got it were repeated. I want this nodes on the F clef. What do I do? First thing, transform it to the G clef than I add two. So it's a plus two. So a, B, C, It's the note C. Now let's do some exercises. I want you to know. What is this node. First thing, what do I do? Transform it to the G clef. What is this node and the G clef? It is denotes it's a reference notes. Yes. So it's denote f. Then I add two. So f plus two will be F, G, a. Okay? Now, other teachers use the technique. I don't know how it's so complicated. The eat grass or something like they use animals or like this. Like a code to remember. So is this a, let's add it. A, all cows eat grass. I don't want this technique because I don't want you to study music by heart. I want you to understand it. So just put the notes on the treble clef, then add to it. Is that simple? Now let's do more exercises. I want this nodes. What is this node? Okay, what is this notes. Let's format to the G clef. So it will be d, d plus two equal to F. So this is the note F, and this is why we call it the F clef. Why we call it the half-life, because the point of this symbol is on the note. So this is all the idea of the half-life. It is that easy and only like four minutes, we study everything instead of having one hour lecture. And I don't know how we are going to study it with very difficult formula and techniques. It is that simple. Hope you understood how we are doing it, and I will see you in the next video. Bye-bye. 6. Vid 2.4: Master Rhythms & Subdivisions.: We already know how to put the notes, but imagine putting them with no rhythm. It's like speaking like this. Hello guys, welcome back. We are going to, you can understand. So in this video we're going to tackle this program. We have many kinds of freedoms. So at the beginning of the course, we were learning the note heads. What is the noteheads? It tells us what is the name of this node. Okay, so now we'll start changing with something called the stem. What is this sum? Let's see, it's right here. I have the whole notes. This is called the whole notes. We have just to remember them, or simply to remember, don't worry, the whole note is equal to four beats. I'll write it right here. Okay? Four beats. Okay. This is the whole note. It has only a note that what does the note heads. Let's return the notehead is it is this one. Okay. So here what you will have the notes. What is this note first thing? Yes, It's the note F, denote f has no stem. What is this? It's like the bar here. Denote f has only a note heads and it's blank from the insights. Okay? Now you can color it with blue one you selected. It should be automatically bill. Now, let's see another one. It's called half-note. Now in the next video, we will study why and this measure we have 11 y here we have, okay, so here what you will have to defer the half note from the whole notes. The whole node has no stamp. Half-note has won some add the right, always the sum start from the right and go up n cases. We'll see them later on. These are the half notes. So I write them half notes. Okay. Equal to two beats. To be. Okay. Sorry. Let's see it. Okay. Musescore, write it like this because I wrote like in Roman numeral. But I would like to remember this idea like this, like when MuseScore write it like this. Okay, so don't worry, here we have the whole notes, half notes. Then what we will have right here will devise the half note into two. So it will be the quarter notes 1234. How to defer the half-note from the course or notes? The quarter note is black from the ends. We fill in the blank and black. So we have a sum, one summarized here, once summarized here. But the whole node has no stamp. So what we have for now, we have the nodes. What is the name of this notes? Half, no, it's quarter notes. Why quarter? Because whole note is we divide it by two. It will be two beats. And if we divide here by two, it will be one beat. Now what if I want to divide the quarter note into two? What do I do? Press Enter to place a nodes. And then this one, you see if I'm going from right to the left, a whole have quarter. Okay. Let's turn at quarter. Okay, let's put the coordinates right here. Okay, So here what you will have if we divide the quarter notes by two, will get eighth notes. Eighth notes like this. Now, if the eighth notes, why we have something more than the stamp? We have something called the Notepad this time, and we have the flag. What is a flag? The flag, we start adding it when we added a stamp, and then we need to go faster because whole note has nothing. It's four bits. So 1234, if I want to read it right here, okay, then, okay, so the more we add something to our music, the faster it goes. So here we'll add a flag. But you may asking me, Johnny, y will have this thing right here. Y will have this when mixing two or more eighth notes to gather the flags, shake hands, and turn into beams. So what does it mean? If I wrote upright like this? Okay, I wrote like this. And then I add 1.5. So before adding it, we have a flag, right? If I add a eighth notes, the flags will turn into beams. Let's try with the quarter note. I think happened. Why? Because the quarter note, they have no flags. So only Sam's and stems don't connect together because they are like this. They can connect together, but imagine putting log this. Okay? But they are next to each other. They will turn into something called the beam. This is the beam. So the more flags and beams note has, the faster it goes. Are we okay with this idea? So here you may asking me why we have these terms down. Why is here down and why it's here? Let's clear all of this. If the note heads off, a music notes is on the third line of the staff or above. This sums must go down on the left. Here. If I have a note on the third line, this Sams are down to the left. This is the sum. Let's face it. This time it's down to the left. Now, if nuts, this stems will go up to the right. So if I am down the third line, the Sam's will go up to the right. Okay, so this is the idea of Sam's up and thumbs down. Now let's do a quick exercise. If I want to place the notes G right here, should be up or down. Now, music score automatically where items are, okay, but you should know why we wrote it like this. You don't want to study music. Remember, we have to understand it and now it's signed for a small challenge. Your challenge will be to try to fit all the kinds of freedom that we have learned and only one measure and only one bar. Think about it. Pause the video right now and go to the challenge. And if you didn't figure it out, how to do it, I'll give you a small hints. There is one rhythm. We will not be able to fit it. Why we'll discover later on in the next video. But for now, pause the video right now. We have only four bits, okay? But we learned five, but you can only fit for. So pause the video right now and go to the challenge. Okay, Welcome back. Hope you do the challenge correctly. And now that's connected together in one measure and one bar. We can add, let's add the notes. Oh, I cannot add more. Why I can't add more? Because we have something called the time signature. So I will try to fit everything except of the whole notes. Okay? So like this, I forgot something. We have, this one. The 16th note. If we divide the eighth note by two, will get the 16th notes. So the 16th note has two flags. Flags. The, the more flags it has, the faster it goes. Okay, So when adding another one next to it, they will turn into something called the beam. So in the next video we're going to solve this thing right here, the time signature, and we'll see why we will not be able to place all kinds of rhythms and the same bar. See you. 7. Vid 2.5: TIME SIGNATURE?: In the previous video, in the previous video, we got stuck and the challenge in this video, I will show you how to understand and change the time signature of a measure of a bar. Okay, so first, let's create a new file, call it time signature than treble clef, key signature. And then matures, then click Finish. We change this single page. So now we'll sort by the time signature. What is the time signature? What does the time signature tells us? It's an indication of the rhythm of the bar. We place it after the G-Clef or the half-life. It depends. It is expressed as a fraction. So let's see, it's right here. The time signature tells us two different things. The top number always tells us how many beats in a measure. Okay, So here, what we will have four beats in a measure. If we are in a meter of three over four, Let's add it u plus view palettes. And then the time signature, you can change it. You just simply drag it from here to here. So here we will have three beats and this measure. Now, the bottom number is a little bit trickier. It tells us how we define the beats. The bottom number, how to define the beat. What kind of nodes is a beats? And the case here, Let's return right here. It's 44, means quarter notes. Here we'll have three quarter note and this ball, let's try to fit three quarter notes. Three quarter notes, so it's three beats. 123. Can I add more? Now? The program will not. Let me add more. Why? Because we are in a meter. We can call it a meter or time signature. It's the same of three over four. Now, if I change it to 44, I'll be able to add one. Or I can add like this. Instead of adding two quarter notes, I can add 1.5 notes. So you see how we are going to play it. Now, if I put it, five over four will be five quarter note and this measure. So I can add like this 12345. If I add 66 over four, it will be 12345. And then I need one more bit. I can add it as a quarter note. I mean, what is it? Yes, it's a half notes. But now what if I don't have the number four right here? What if I have, let's drag this time signature three over 8. First thing, let's delete this. So here, eight, the number eight means eighth notes. Here I have 3 eighth notes and this measure, Let's see it together. Let's edit 123. Can I add more? No, Why? Because we are only allowed to add 3 eighth notes and this measure. Now, if we have six over eight, can you tell me? Yes, it will be six 16s, no, 6 eighth notes and this measure, why? Because the number eight refer to the eighth note. So here we can fit it with only one. No, I cannot add. Let's see, move this, we'll study it. And the next videos. We can add an eighth note. So how many eighth notes we have right here? 1345, because one quarter note as equal to a 2 eighth notes. And then we'll have six. So the measure is complete. So I hope you get the idea. Now I will remove this. And what if I want to add a node at the end that will fill all the space. I add the dots. Okay, so in the next video we will study what is a dot and how to manage it. Hope you understand the idea of time signature because they are so important, we'll use it all over the course. If you do not get it or you are struggling a bit, please jewelry. Watch this video because it's so important. Ceo. And the next one, Bye bye. 8. Vid 2.6: What Are Dots!: Okay, So in the previous video, we learned all about the time signature. But at the end we mentioned that we have something called the dots. So in this video we will tackle this problem. First thing, let's open a new program, a new file, press New, and then dots. Choose the treble clef, No key signature, this one. The measures. Let's put them down. That's changed the page view as always. Okay, so here what we will have, what are dots? If I have this note right here? There's denote a. Remember from the face mounted a C. Here we have the notes. Okay? So here a, and I want to know how to put the dots. We press right here. Okay? What will happen when I put the dots? What our dots, we learned in the previous videos, the whole notes, that is four beats, the half-note to beat. The quarter notes, that is one beat. But what if I want more details into these nodes? I want a return of three bits, for example, or 1.5 or three quarter a bit. This is where we will study the dots. So dots, what are dots? If I have this note right here, I put a dot next to it. What will happen? I remove the dot. How to calculate it? I removed the dots, divide denote by two. So it will be a quarter note. Let's repeat the steps. I want the value of this nodes. I take the notes, okay, without the dots divided by two, it will be a quarter notes and then add them together. So two beats plus one bits, it will be three bits. So this node is equal to three bits. Let's repeat the whole things. I want dots, what our dots, we will sorts. We remove the dots, divided by two. We add them together. Two plus one equal to three beats. Are we okay with that? So now let's return to music score and let's see it on the stuff. I want the value of this notes that she then I'll add the dots. How do we calculate it? I removed the G. So without the dots and divide it by two. So this antidotes to gather, equal this together, then you get the idea. So now what you are going to do, we'll play with other nodes. What if I want the dotted quarter? Dotted quarter notes? What do I do? I take the note, quarter note divided by two. It will be an eighth notes. Add them together, will be one plus half a bit. So 1.5. So this one is equal to 1.5 bits. You see how we are doing it. We are not studying by heart anything. We are just remembering the technique on how to play them. And now we'll do a small challenge. Your challenge will be to create a rhythm of three beats and a half. So think about it. It's a little bit tricky. But I know if you concentrate, you will be able to solve this challenge. So pause the video right now and go to the challenge. Okay, welcome back. So how are we going to do this? Let's try it with the quarter notes. Let's remove this. Let's try it with the quarter note. I want a AB that is three beats and a half. I want a rhythm that is three bits and a half. So how are we going to do this? First thing? Let's remove this quarter note because of course I cannot play it with the quarter note. I have to know a bit that is close to the three bits and a half. So I know the, or the whole notes or the half-note. Okay? But I can actually move bits from inode. So of course, the whole naught is equal to four beats. I cannot remove from the four bits. So of course it's not the whole notes. Here. Once you will have, if I add the dots, will be three beats rights. But we mentioned that a dots. How we are going to do this. A dot divided by two, then add them together. How many bits? I want to get three bits and a half. I sell, want one to three years, so I still want to have the beads. So I need something to divide this by 2. First thing, what is the value of the salts? It is equal to a quarter note. So if I divide the course or node by two, I will get an eighth notes. And this is how we are going to do this. I add a double doted know, like this. So what is the double-dotted notes? It's a little bit tricky. We will not see that. It's not that common and music, but you should note, how are we going to calculate that? Divided by two. So let's write our here. F divided by two. It will be divided by two, it will be. Okay, so 1.5233. So this is the double dotted idea. Now let's try it with other nodes. Let's try it with the quarter notes and double dotted. Okay? So here what we will have divided by two, it will be divide the eighth, Y2, it will be 16. Okay, so you see this rhythm. It's eighth and 16th, so 1.513 quarters. So this is the idea of dots. Hope you got what you are learning right now because dots will be using them so many times in music. I'll see you in the next video. 9. Vid 2.7: Rests In Music.: The previous video we learned that we have, for example, the whole notes, half, the quarter notes. Okay, So now we'll study the rest. Each rest, we have different types of rest, okay? Like, it's like the nodes. We have different types of nodes. We have the whole note, half note, the quarter note, and we can divide it more and to 16th. Now, remember, then we can go to the notes, and then we can go through the 16th notes. Okay, So you have to remember all these stuffs. Now we will study the rest. Why we use rest? Because probably in music, I want to play like this. That here, I don't want anything. So I just put it like this. Let's hear it. I repeat it. So I keep going with the beat, but it has no page. What is a pitch? Is this sound okay, so each dress has a correlate symbol. That means do nothing for that amount of time. Just rest, just be quiet. So here we have many types of rest. We will study them first, being here, what do you think this type of rest is? It takes the whole measure, so this is called a whole rest. A Horus is equal to a whole note. So Horace, whole notes. Now let's divide this into two and just click and then click into half-note, we divide it into two. Why? Because the harassed is pointed down and it's equal to four bits. Now if I want to divide it by two, it will be equal to two beats, beats right here. So each one of this half rest, we call it half rest. Why? Because it's equal to a half notes will have press Tab to remember why we have stems down, because it's above the third line. Okay, Then I want to divide this stress, the whole rest. Okay. But before dividing it, do you know how to differ between the harassed and they have for us what is the difference between them? The only difference is that the whole rest is pointed down and the half rest is pointing up. You see this thing right here. This is down and this is up. Now if I were to divide the whole rest and 24, this is called a quarter rest. Why? Because it's equal to a quarter note. So each one of these rest is equal to a quarter note. Let's divide this one. What is this stress? It's pointed up. So it's a half rest, correct? Now, I want to divide it into two. We'll have four quarter rests. So I can say that a whole rest is equal to 2.5, rest is equal to four quarters. So let's fill here. I can keep it like this, or I can divide this one into two. No, try it here. It depends how I want. Let's see here. 34123412121234. So when we have arrest, we have we just be quiet. We don't do anything. Now, what if I want to divide this quarter rests into 2? First thing, let's divide it into four to have the court's arrest. I want to divide this one into two. So we will have this type of fresh. Let's divide them together. We can put like this, okay? So try to do with the actions at the same time that I'm doing them. Because this will help you to practice more how we are doing to name this rust, this is called the eighth rests. Why? Because it's equal to an eighth notes. Eighth notes equal to a thrust. Okay, don't worry, the rest don't have stamps. And this thing's only the nodes have stamps. Dri, Remember the sum, the flags shake hands and turns into beams. This is stems. Don't confuse between them. Stems, stems. Sorry. The flag. Visit the flag. This is the beam and this is the node. Okay? Now, let's try it before you can write it, whatever you want. Okay, let's remove it. And now if we divide this a thrust into two, what we will get weights, it goes down. So here what we will have, let's divide them into two. We'll get something called the 16th rests. The 16th rest is true. A stress at top of each other. So let's see, the 8th strikes here. The a thrust like this. This is the eighth rest. This is the 16th rest. You see the difference? So 12, okay, you see how we are improving. We started with a G clef than the F clef than the rectum cell division. Then the time signature, I have all the files right here than dots and now we are learning arrest. And now it's time for a small challenge. Your challenge will be to create a eras that is equal to 1.75 bits. So one beat and three-quarters debits. Think about it. And if you are struggling a bit with it, just think more and then rejoin the video will be correcting it together and I'll explain to you everything. So pause the video right now and go to the challenge. Let's correct it together. We will remove this measure right here. And then let's divide and get some rest. Will divide it into holder. Us notice the half rest, quarter rest, and then we will see some a thrust. So here what you will have, we'll have quarter, a half, but I want a rest that is equal to 1.75. So I can take the half rest. Why? Because the half rest is equal to two beats and I can remove a value of a beat. So I will pick the closest, Russ, this, the Coursera. Okay, So we'll start playing with the quarter rests. Let's transform it into quarters. And this one. Okay. Do you remember when we were playing with the nodes, we add something called the double dots where they don't. So it is the same with the rest. I can add a door to arrest. So what is the value of this Ras? It's quarter, so one beats plus half a beat. So 1.5. Then I add, let's add two zeros. And then at you it will be 1.5. And if we divide the 1.5 pi by two, will get 1.75. And we added. So this return is the stress is equal to 13 quarter or 1.75. It's the same. Now we don't see them usually in music itself, that comment to see this type of phrase, but you should know it. So we'll be able to practice more on music and fix the idea on your head. So that is all the idea of for us and you know now how to do them. And hopefully in the next video, we are going to learn the thighs. So make sure that you understand everything. I'll see you in the next video. 10. Vid 2.8: Ties: In the previous video, we learned what our risks. We learned that we have a whole rest, a half for us, a culture as a stress 16th trusts. Now in this video, we're going to learn something new and error term called the tie. Let's create a new file, new toys. And then the treble clef as always, no time signature then will attend measures. And then what do we do right now? Okay, single-page. And then let's start with the time. Why we use dice. If I neither a team of six beats, but I only can fit in one measure, I can only fit four beats. What do I do? So here I have, for example, I need the whole nose. And here, sorry. Here we'll have the half notes. But if I play them, Let's tear them. There are two different nodes. We play them two times. So here, how do we connect them together? We put something called a tie. Now that's here. So you see how we are going to do it. What is a tie? A tie, connect them together. So it will be four beats plus two bits. So this written as equal to six beats. You see how we are going to do it. If I want the sound to sound like OneNote. I need some kind of tricks that tells me to connect these two notes and continue this note. And to that note that carried all over the bar line. What do I do? I add this tie. This trick is called a tie. You see how we can add it on user score as you move it. Press here. Okay, so here it will be six. Now, let's try it with another thing. It's not mandatory to have it always from a bar to a bar. I can have it inside the bar. So here, I want to connect them together, or this a, and then we will have here. Okay, how can I read it? Let's put a toy, okay. Okay. So distributed. Let's repeat it. Okay, you see how we are doing it? When I see it, it means to play the notes and hold it all the way for the full duration of the other nodes. You don't replay the notes here. You only play the notes once. Let's do another exercise with this one. Then connects with four. Okay, I'll do a tricky one. And then this one, then we'll put a tie right here from the bar lines and then a bar right here. Can you try to read it? Can you do it as an exercise? You see how I'm playing it? Let's repeat it and see what is happening right now. C, C, C, C. Why? Because here we have four beats and a half. So see, here we have like a quarter note. Why? Because 2 eighth notes equal to one-quarter nodes. One quarter note that an eighth note than a half notes. Let's repeat them. Okay, So this is All the idea of the thigh. We learned in this section all the things about the notation time and the basics of music theory. In the next video, in the next section, we're going to learn more basics. So we'll be able to understand more music theory because they are so, so important. Let's do a quick revision. The G-Clef, reading, the F clef, you remember the magic way. The nodes then plus through the rhythm subdivision, whole note, half note, quarter note, the time signature. You remember this one, the upper one. How many bits? The bottom one. How to define a bit? The dots, the double dotted note, and the note. There are how to play the rest. How many kinds of risks do we have? And then the toys that you are doing it in this video. So that is all the things that you have to learn in this section. I hope you like it. And in the next section, we're going to learn much more thing. Hope you are excited to continue with me in this course, and I'll see you in the next video. Bye-bye. 11. Vid 3.1: Flats & Sharps.: Welcome back My father, music theory students. So in this section and this new one, we are going to learn something that will help us much more than the music theory. And the previous section, we learned the G-Clef, reading, the F clef, the rhythm subdivision. Hope you understood all of these stuffs because we will need them in this section. So first thing, I will give you a quick idea about what you are going to learn. We are going to study sharps and flats, the half sub, the whole sub the double flats and double sharps. And now let's start with the sharps and flats. The title of this lecture, we are going to create something new, a new file, sharps and flats. Okay? Then we'll do the treble clef. The key signature will learn later on, just keep it like this. Then ten measures, Okay? And then click Finish. Let's change the page view. Okay, In the previous video and the previous section, we learned that the white notes or like this, okay? We have a, we learn all the white notes app for example, E.coli. So all of these white notes are normal nodes, like all of the notes on the piano. We have this one then o g for example, in the notes. But what if I want the pitch that is between the a and the node to be, I don't want denote a, and I don't want the nodes. I want this one that is between the a and this one. What do I do? Like this one? So this is where the idea of sharps and flats comes in. What is a flats? A sharp thing. Let's define a sharp. A sharp as the closest movement possible up from inodes. For example, let's see this. Control a and then delete. I want the closest move and possible from the node a. The note is right here. What is the closest move and possible? It's not the eNode B. Why? Because we have this word right here, the black notes, you see it. So I can press this one. What is this node? Is the closest movement possible from the node a? So I will go up from the node a. It will be a short how to add sharp? I can add it from I go up or I can add this. Okay. No, not denature this one. The a sharp, it's certainly not a, it's not denote by S between them. Now we have some, another thing. The flats are the smallest movement possible down from NO. Now, let's be clear about something. The smallest and the closest are the same. Okay? So I can say sharp as the smallest moment possible, or I can say flat is the closest more than possible. What differ is up and down, because sharps, I'm going up and flats I'm going down. Let's see this right here. If I denote beer, I want to go down from the eNode. B. Denote a, I want to go down. So B flat. I want to go on shore. Where the sharp, G sharp right here. Did you get it? Now, there's something a little bit tricky. You have to understand it. Not always. The sharps and flats or black notes. We'll see in this lecture that we could have them as a white nodes. Now let's do some exercises. What is the closest movement possible from the node? If I want to go up the closest movement possible, I will leave the piano keyboard right here. If I want to go up from the node, where do I land? With the closest move and possible? Sharp, right? If I want to go down from denote f, the islands on the offense. Now, let's see why. Note. I will not tell you. I will keep it secret for the end of this lecture. So now let's do more exercises. I won't be closest moment possible up from the node D, B, these are the closest move and possible down from the notes here will be if flats. Okay? So this is the idea of flats or sharps. Now it's time for your challenge, a small challenge that will introduce us to something new, a small information. What I want you to do it as a challenge. And your challenge will be to name two nodes that are sharps and flats. At the same time. So think about it. You have to name and notes. It could be a black one or a white nodes that are flat and sharps at the same time. So pause the video right now and go to the challenge. Okay, welcome back. Hope you did your challenge correctly. And now let's see together. Now hope you didn't see a difficult, because it's so easy. You know why? All of these notes or sharps and flats at the same time. Let's see why. We'll start with the black notes. Okay? So imagine the F sharp, okay? The F-sharp could be offshore or it could be. That's why, because here on the piano, if I'm counting from denote the actual, if I'm counting from the node G, BG. So this is the idea of sharps and flats. I can have sharps, the same note, this one sharp, and this one could be flat. Now, the idea that you mentioned before, we can have them as white notes. Why we can't have them? Why we can have them as white notes. Here. What is the closest move and possible up from the notes here? It is denoted. Do we have a black notes, right? You know, so the closest movement possible is denoted f. And we mentioned that the closest move and possible up as a D sharp, E sharp is same of notes. If I press basically sharp price here, I will get the same node. Okay? Now you have to name something else on the piano keyboard that is the same. And the C, correct? Why? Because between B and C don't have a black note. So B-sharp is the same of the notes. You restore, the same of the notes here. Now we'll do we'll invert them. If I want to count from the flats. B-flat, E-flat, c flat is the same of the nodes. Be, you know why? Because if I'm counting from the notes here, I want to go down. So it will be saved. And it's denoted B. Now the same thing apply to the note F will be the note E. Is it heart? Okay, so remember when I mentioned that it's not necessary to have them as a black nodes. This is the case right here with the E and F and between the beam. And we only have these exceptions. And let's do some exercises right now. I want the notes give me a synonym to denote F sharp with flats. Give me the synonymous with flats. Yes, it will be G A-flat. Now give me something to the a, sorry, a sharp. It will be a denotes. You see how we are doing it. It's that easy. So that is the idea of sharps and flats. Hope you get it because we'll use it later on in this course. It's so important to know the difference between flats and shops. Now before ending this video, I want to give you a small information because it will help us a lot. Let's delete this. Okay, let's create a melody. For example, the song Happy Birthday. C, C, D, D, C, E, like this, the note E. Okay, Let's hear it. Okay. If I want, if I put a sharp right here, you see why there's this symbol right here. This is the nature of symbol. Why we have this right here will learn later on, because sharp affect the whole measure. So if I have a sharp right here, this one will also sharp and this node also serve. It will be C sharp. Let's see. Okay, We're on the happy birthday song, but I want you to understand this idea. But if I put the notes here, I2, that's what the course will note. Half-note, it doesn't matter. This notes here will not be affected by the sharp. Okay, So this is the ideal and the same thing applied to the flats, okay? If I have C flat right here, for example, what's your flat? You see it? See if I want the CFS, I can I can remove this. It will affect if I remove this. So this one will be C, E-flat. This one, we see flats. Okay? So this is All the idea you have to know about flats and sharp. Hope you get it. And I will see you in the next video. We're going to learn something new. Hope you enjoyed this video, and I will see you at the next one. Bye bye. 12. Vid 3.2: Enharmonic Spelling.: Before ending the flats and sharp parts, I want you to make sure that you got an idea. When we mentioned that, C-sharp and G-sharp for example, and D-flat. Okay, let's try them. Would have C sharp and D are the same. This is called enharmonic spelling and harmonic spelling. So let's try the harmonics planning for the nodes. Short. Can you help me? It will be shear. Let's try the harmonics planning for the notes. Sharp, it will be flat, no flats. Okay, you see from where we got the name, the enharmonic spelling for the note E sharp, it will be, sorry, it will be the nodes. Denote. Just a quick reminders to know everything about the harmonics bank 0 and the next video. 13. Vid 3.3: Whole & Half Steps.: Okay, So in the previous video, I mentioned that a sharp or a flat is the closest move and possible, right? What do I mean by this? The closest movement possible is called a half's up. First thing in this video we're going to learn the half step, whole step. So let's open a file and name it. Half step, whole step. Then we'll continue with it. Which would the treble clef as always, the key signature, this one, and then the measures sun. Here as always, we place it single-page. Then let's see, Try to. The closest movement possible is called the half-step. So if I want to have sup up from the node, for example, I'll be on the actual, right. The distance between f and f sharp is called the half sub y because it is the closest movement possible. Now if I want to close this movement possible down from the note G, where do I land on the G-flat, right? So the closest movement possible from denote G flat. The distance between G and G flat is a half sub that you get the idea. Okay, So now what is a whole step? Now? Logically, whole SAP is double a half-step. So it's to the closest move and possible if, let's say the keyboard right here. If I want to go a half step up from the notes here, I will go to the notes. If I want to go with the closest move and possible down from the note C, I will go to the flat, B, C, a flat, because be, it will be another thing. Just name it. And music. And the piano, keyboard, they are the same, but in music there are difference. So I want to go a half step from denote. I'll be on the show. I want to go down a half step from the analogy. I'll be on the G flat. Okay, now what if I want to go a whole step up from the notes? Where do I land gy because have two half-steps. So let's try to draw it here than sharp. Let's put short, okay, then the note G, you see how I'm doing it? Let's do more exercises. Let's delete this. Remove the piano or okay, let's keep it to the piano. It will help you. Now. I want a half step up from the node t. I'll be on that you saw. I only have sup up from the notes here. I'll be on the sharp or the note of that same it, E sharp. Okay. I want to close this movement possible, or a half step down from node B. B on the B flat. I want a whole step up from the notes. I'll be all denotes why it's G. So you see how I'm doing it. And now I have an exercise for you. Can you name a node's a white nodes other than the BC and the E and B are exceptions that we see. We saw them in the previous video. Can we name notes that are sharp also? The E? Is it a short notes? The next video we're going to learn what is this idea? So hope you enjoy the idea. I hope you get the idea of sharps and flats because it's so important, we will need it later on in this course. So see you in the next video. Bye-bye. 14. Vid 3.4: Double Sharps & Flats.: In the previous video, we learned what our shorts and what our flats, what are half-steps and what our whole setup. But now we'll study something new called the Double Flats and double sharp. Let's open a new file, call it double flats and shorts, double sharps and flats. Okay, it's the same. And then the treble clef as always, the key signature, and then changes. Okay, so here what we will have double sharp as they are named, sad, it's F double. Sure. So here on the piano keyboard, I want double. So F double sharp, two sharps from denote as you see how we can say that F sharp, the same of the note G. Okay, let's try to write here F double sharp here. Sharp. What is the symbol of double sharp? It's like this, like a small sore. Now, the double flats, I want E double flat. E double flat is if less than flat, so it's z, Let's see it on the piano keyboard. So E double flats, the symbol of double flat. It's doubled. This is double sharp, and this is double flats. G sharp, or the same. B double flat and D are the same. So the double flats and sharks are so easy. You can know them. They are E double flat there it's the same of the note F. And now I have a small challenge for you. And your challenge will be to name the nodes that have three names, named the notes. I don't know. I think there are two nodes that has three different way to name them. Here. In the app. The app we mentioned that f of E sharp, sharp and F are the same. Now I want notes that has three different name. Think about it. Pause the video right now and go to the challenge. Okay, welcome back. Hope you the challenge correctly. And now let's correct together. Let's your eyes here. Let's open our piano. I want to play with these notes. See the app, because here, here is the same of the note F sharp of the note C. So what is this note? It's the B-flat and E-flat. Why? Because here what we will have been that we can name it. Sure. Can name it. B-flat, we can name it. And then also with the E-flat, we can call it that. And we can call it double. We also have, for example, the actual forget call it E and F sharp and G flat. And then the shot. So we can take all over around with music theory. It's like a game. We can play it around itself. That's hard. I want you to understand music. I don't want you to study music. So this is the idea of double sharp and double flats. 15. Vid 3.5: Using The Natural Symbol.: So before ending this section, I want to introduce a little idea about the nature of symbol. We mentioned that the flats affects the whole measure, okay, also the double flat affect the whole measure. Every flats or alteration. Alteration is flat, sharp or the natural symbol. What is the nature of symbol? If I have a sharp price here, okay? And I want this node's not to be short because this node, the sharp right here will affect this though. This F sharp and this, how can I do it? I add something called the natural. This way. This, this will not be affected by the sharp. Let's do another example right here with the flats, for example, the B-flat. I want to write here the node B. The B. I don't want it to be flat. I want the initial B. What do I do? I put this symbol right here. So this is a normal beat. This, this one right here. Or this doesn't matter. This is just a small idea about the national symbol. Hope you got it, and I'll see you in the next section. 16. Vid 4.1: Introducing Scale Degree.: Scale degrees, what our scales degrees. So this new section, we are going to study them starting with this lecture. So let's open a file on MuseScore and name it scale degrees. Okay? Then as usual, we put the treble clef than No key signature. And this section we are study, we'll go into Saudi the key signature, don't worry. And then put like this ten measures there are enough, and then click on Finish. So what is a scale? A scale is a group of eight nodes that we put after each other. Usually we start with the notes and ends with the octave. So we'll put it right here. We'll start with the note C, for example, C, G, a, B, C. Okay? So each scale is composed of eight nodes. And each node has a degree. What our scale degrees. So let's see for example, this one. The scale of C major. We have C, D, E, ABC. Each node has a degree. So this is the first-degree, this is the second one, the third, the fourth, the fifth, the sixth, or seventh, and the eighth. Now why we name it like this one? Because the sea and the sea repeats itself. So C and C are the same, right? This is the note C, and this is the note C. So this is why we call it eight or one. And each node has a name. We have the tonic, the dominant, and the leading tone, the L, D. Okay, now the second one, we have so many names for it. The second, the third, the fourth, the sub-dominant, but I don't want you to study them. I want the tonic, sorry. I want the tonic, the dominant, and the leading tone. So the tonic is the first-degree. The dominant is the fifth degree. The leading tone is the seventh degree. Now, how to go from the tonic to the leading tone? I go back half step. What is half-step? Have SAP as the closest movement possible? So if I am right here, for example, I am only nodes E, and I know that E as the tonic and I want to find the leading tone of this scale. What do I do? I go back half. So it's the sharp. Why? Because the leading tone has to be another nodes. I cannot have, like the beer and the b as the leading tone. The scale is also the beam. You see how to note the difference between link down and tonic. Now, if I have the leading tone and I have to find the tonic, what do I do? I go Forward, have sub. So for example, if I have the note and I know that the note E as the leading tone, and I have to find the tonic. What do I do? I go forward, have sub, so from here to here, it's half. You see how we are going to do it. It's not sharp. Why can you tell me? Because E and E sharp or the same nodes. So we cannot have the tonic and the leading tone that are the same. For example, let's see more examples right here. If I am on the scale of C major, G major, Let's write it. G, a, B. So I'm at the scale of G major. What do I do? I want to find the leading tone. The leading tone is no. Why? Because the difference between the limbic tone and the tonic has to be half. So it will be sharp. And the scale of G-Major, we have the F sharp. Let's see another one. Let's read this. Try to write with me when I am doing exercises. Let's try the scale of, for example, imager B, C, D. So whereas the leading tone, then I'll do the difference between the leading tone and the tonic has to be half SAP. So from E to G, I have to, I cannot change the UI because I started with the notes. So I have to change the note D. I go up the scale of imager. We have, we have this sharp, okay, but we probably have another shorts, will see it in the next video. Okay, don't worry, something called the scale pattern, the major scale pattern. Now each node has a different scale degree. So for example, if I am in the scale of C major, let's write it. B, C, C. So the note G is a fifth degree. Let's try to write here. The fifth degree is the third degree. Okay? But if I'm in this scale, for example, of G major, let's try the G-Major right here. G, a, B, C, D. Can you help me? The note G as the first-degree? So you see a depends on the scale. We always write the scale degrees in Roman numerals. So for example, I cannot have this. Number one. It's not a scale degree. We always have it in Roman numerals. So this one, this is two. Okay? And so long, and so long. That is everything you need to know about scale degrees. 17. Vid 4.2: Major Scale Pattern.: We already learned in the previous video or the scale degrees. Now in this video, we are going to learn the major scales pattern. All the major scales follow the same pattern. In this video, I will show you how to know it quickly so we can directly recognize every major scale. So first, let's open a file and name it major scales better than. Then choose the treble clef, the key signature, this one, and then measure Stan, let's put a singleton, Okay, made sure. Okay, so now each scale has the alteration of it, right? And the previous video we saw, for example, that the G-Major, a, B, C, D, E, F sharp, G. Why we have the F sharp? Because it is the difference between the leading tone and the tonic. Remember what is the leading tone, right? So now let's see the pattern of the scale of this one, for example, or no, let's change it to the C major. Let's change to the C major because the C major has no alteration, because it's already prepared. So from the leading tone to the tonic, we already have half-step. So when the C major we have no alteration. What is alteration? Alteration is short. The nature or symbol. So now let's see what we have from the notes C to the node D. We have, let's try to write here how many steps? We have. A whole sub C, D. Let's put the piano keyboards from C to D. It's C, C sharp. So to have SAP equal one whole step, then from D3, It's also holds sub y. Can you help me? Because then E, F, it's half sub y because it is the closest movement possible from F to G. A whole step. Then from G to a From G2 way. Can you help me? It's a whole step. Let's try to hold. And then a, B, it's a whole sub B, a, B, C. I mean, it's a half-step. Are you okay with this? Whole, whole half? Whole, whole half. Whole whole half. So every major scale has the pattern of whole, whole, half, whole, whole, whole all have. Okay? So can you remember this? Can we revise its whole, whole half? Whole, whole, whole half. This is every major scale. So now let's see another example. For example, with the G major scale. With a G-major scale, what do we have? Can you help me? G, a, B, C, D, E, F-sharp, G, F sharp. Because as the leading tone, Let's see the pattern. Whole, whole, half, whole, whole, all have, are okay with this. And now it's time for your challenge. Your challenge will be to write the E major scale and the F major scale. So as we're doing right now, we are going to write the imager and the F major, and it will be your challenge. So concentrate, pause the video right now and go to the challenge. Okay, welcome back. Hope you did the challenge correctly and now let's correct it together. The imager, we'll start with denote here, okay? And then we'll end with the note E, F, G, a, B, C, D E. Okay, Now let's move the note G, a, B, C, E is right. Now what we will have first thing, let's follow the pattern. Okay? Do Not just put the leading tone, but you can do it. Let's go with this. Okay, But it will automatically, will automatically go up when we will follow the pattern. It's a half step. It should be a whole step. So F sharp then F sharp, G, It's a half. It should be hold to start shortly. It's a half. Okay, G-sharp. It is the closest movement possible. A, B. It's a whole, okay? Bc, it's how I want it. Okay? Then C-sharp, D-sharp, it's a whole sub imagined. We have the D, Okay, We'll put it, it will be half, that will go up. So it will be the sharp, D sharp to a half-step already. So we have F sharp, G sharp, C-sharp, D-sharp, and the scale of E major. Now let's try the scale of F major. We'll start with the note F, a, B, C, D, E, F. Now what we will have from F to G, G, a whole a, b, we need to have. So what we will do, can we go up from here? It will be a sharp know why? Because it will affect the previous one. So we should, we should go down, Let's try the a. We should go down from denote date. So it has to be flats. B-flat, B-flat, C. Let's see, It's all SAP already because B, then C to D, all on. So to be whole, whole half, whole, whole, whole half. So we are done with this scale of imager that has C sharp, D sharp, G sharp, and F-sharp. And we are done with the scale of F major that has only the B flat. Now there's an easier way to find out the alteration of a scale. And we will learn in the next video. 18. Vid 4.3: Mastering The Key Signature.: I mentioned that there is an easier technique, you know, the alteration of a scale. This technique is called The key signature. And every file we have created, Let's say first thing, key signature. And every file, treble clef and every file. We have this thing right here. In this video. We're going to study it and see how it works. Let's put it on ten measures and then we'll click on Finish the page view single. So what a key signature is doing right here? How to add it? Click on View. And then the key signature, this should be closed. Okay? You just open this one. Key signature, for example, if I want to put the F sharp right here, what will happen? Every app and this line will be affected. So for example, if I want to write the scale of C of G major TAB. So this is the F-sharp. Let's see it on the piano. Yes, this is the F sharp. You see? Why? Because we have a sharp right here. So this sharp affect everything. For example, let's do another one. I want to prove the B flats. Okay, let's remove this. The B-Flat for the F-major. F-major, it will be a, b, d, e, f. So this is, let's see it on the piano. What is this node? Can you tell me? Is it the B or B flat? B flat, right? So this is the B flat. You see how the key signature will affect the whole line. Every alteration on the key signature has to be applied all over the line as its name. It's the signature of the key. Every person has a unique signature, and every key has a unique signature called The key signature. The question is, how to recognize the key signature of a key? Let's see it here. The key signature. We have two types of key signature. We have the sharps key signature, and we have the Flats key signature. Let's see, it's right here. We have the flats, right? We have this one and we have the key signature. These are the types of the key signature. We have the flats and we have the sharps. So we have two techniques. We have two ways. We will start with the sharps key signature. First thing, when we use the sharp key signature, it's when we have a natural key, or the name of this key is with sharp. For example, the D major. We use the sharp key signature. The G-sharp major, we use the sharps key signature. So how are we going to do this? We have something called the order of sharps. F, C, G, D, a, E, B. How to remember it? It's fat. Charlie goes down and it's burger. So fetch all it goes down and eat burger. Can you remember it's fat Charlie goes down and it's burger. Fetch all it goes down and it's burger, what are we going to do? We find the leading tone of the key. So for example, if I am and the D major scale, okay, let's remove this FIM and the D major scale. I want to know the alteration of this D major scale, but I don't want to ride everytime. D, D, E, F sharp, G. How are we going to do this? We search for the leading tone. What is the leading tone of the scale, the major? How to find the leading tone? We go down a half-step. So the D major has the leading tone of the D major is the C-sharp, right? Let's try. It's right here. Okay? So it's the c-sharp. C-sharp is the leading tone of the scale of D major. So then what we do, we count the order of sharps still arrive to the leading tone. So we'll start with what is the order of sharps? Charlie goes down and it's burger. So we'll sort of see till arrive to the C Sharp. Why? Because we'll have the scale and the scale of D major. We will have C-sharp, D-sharp. Know, we will have c-sharp, F-sharp, count the order of sharps. F, C, G, D, a, E, B. So if the leading tone is C-sharp, will have F-sharp and C-sharp. If the leading tone is D-sharp, will have F-sharp, C-sharp, G-sharp, D-sharp. If the leading tone as E-sharp will have F sharp, C sharp, G, D, and E sharp. So this is how we are going to do it. Don't you? Trust me. Let's see, it's right here. I am on the scale of D major. We mentioned that we only have c-sharp, F-sharp. Let's see it. Let's try to scale first thing. Let's make sure from pastor of the major scale that you have learned in the previous video. So here, whole first thing you remember the better. The major butter, whole, whole half, whole, whole, whole, half. Whole DES, correct. Then what do we have? E F. E F is the closest movement possible, so it's a half sub. I wanted to have sharp, then F sharp, G, let's say half. Whole, whole half than as a whole. A whole BC half. Why? Because Moses movement possible. So C-sharp, then it's a half. So when the D major scale, we have only the C-sharp and the F sharp, as we mentioned from the other technique. But if I want to do it quickly, what do I do? D sharp, I find the leading tone so C-sharp and I start counting the order of sharps tell arrive to this leading tone. So this is the short key signature. Now, the flats key signature. First thing, how do we know the flats key signature? What keys have flats? There are the keys that has flats and their name. For example, flat major, G, A-flat major, E-flat major, D-flat major. It's not the D major, D major. So it will be D major. It will be a natural key. So we follow up with the sharps key signature. But with the flats key signature, we see only the nodes, the keys that has flats and they are kept key signature. Now, the order of flats, the order of flats, is the order of sharps, but inverted. The order of sharps. F, C, G, D, a, E, B for Charlie goes down and eats burger. And the order of flats, B, E, a, D, G, C, F. The Charlie returns to the home. Okay? So B, E, a, D, G, C, F is the order of flats. Now what we will do, we add one after. So if I have to know the key of B-flat major, for example, let's see, it's right here. The B flat major. B. Let's try the beam. B, A-flat major. What do I do? I see the key, the B flat major. B flat major, and I add one. So b, what is the next one? B, we have only BE and the B-flat major. Do you want to see? Don't you? Trust me? Let's see, it's right here. The B-flat major starts with B flat and ends with B flats. B-flat, C, hole. What is the major scale pattern? Whole, whole half, whole, whole, whole half, whole, whole half. I have to have the half go up with the d know because it will affect the previous one. I have to go down from the note E. And then if that hole and then half. So we only have B-flat and E-flat and the B flat major. Now we can put these key signature. We can put this one, okay? This one will affect the B-flat and E-flat. So every B and E will have flats is at heart. So let's repeat the key signature. How to know the key signature? For example, I want, let's do some exercises. I want the a major. A major, It's a natural key. So we follow with the sharps key signature, a major. Let's remove this a major so we find the leading tone for the sharps key signature, we find the leading tone. What is the leading tone? It's a G sharp, and we start counting with the order of sharps, F, C, G, D, a major. Let's try the a major, a, C, G. And then we know where I denote a. Okay, let's remove this. And then let's sort. What do we do? The a major, G-sharp and I start counting. So F, C, G. So C sharp, G sharp. This is how we are going to do it every time we see, for example, a natural key. Once you are going to do, we find the leading tone than salts counting, then write the alteration. Let's do another one was flats key signature. For example, I want the E-flat key signature. So I start with the E-flat and with the effects. A, C, one, d, sorry, d, and then the notes. So be careful. So here what you will have, what do we do? And the flats key signature, the order of sharps or flats, and then one after, one after it will be E-flat. So can you help me? What do we do? And the flats key signature, it is one after. So if I have E-Flat right here, one after, it will be B, E, a. So we have B-flat, E-flat, A-flat, and the key of E-flat major, let's try to write here if that whole, whole, half, whole. So it's correct. So that is everything you need to know about the key signature. 19. Vid 4.4: From Key Signature To Key.: We already learned how to know the key signature of a key. But what if we know the key signature? And I want the name of the scheme? And this lecture will tackle this question. So first let's open a file and name it from key signature to the queue. Okay? And now let's put it on treble clef, this one, okay, Now, you know what is the key signature? Let's put it on ten measures, single-page. So we already learned that we have two types of key signature. We have wood pellets, okay? The sharps key signature and the flats key signature. We will start with the sharp key signature, this one, or let's put this one. So we learned that what do I do? I find the leading tone, okay, So if I have, if I want the D major, I find the leading tone than start counting the order of sharps, F, C. Now, if I have the app, see the note C. The last sharp is the leading tone of this key. So C-sharp is the leading tone of our key. The key is how to go from the leading tone to the tonic. We go up a half step. So here we are, and the D major. Let's do another example. Right here. I want this one. So F-sharp, C-sharp, G-sharp, D-sharp. I don't care all of this. Now, why I don't care about these nodes? What do I care is the last one, for example, the EHR price here. Because here the nodes follow the order of sharps, F, C, G, D, a, E. And then we have here this one, B. Okay? So what we will have E sharp as the leading tone of this scale. So E-sharp is the leading tone. How to find the tonic? If I have the leading tone right here, how to find the tonic? I go up a half step. So E-sharp is right here. Dystonic will be a sharp. Be careful. So we are in the App Store. Make sure. Okay, So we are in the F sharp major. This is why we will have this case in this right here. F, C, G, D, a, E. Now FIM and the F sharp, and I need to find the key signature. What do I do? I find the leading tone, so it will be E sharp and then start counting till arriving to the E sharp. So this is the idea of sharps key signature. If I have the sharp key signature and I need to find the key. Now what if I want the flats key signature? If I have the flat key signature and I need to find the key, it is before the last one. So here, in which key we are, Let's see, it's right here. Okay, So here we are in the E-flat major. What do we do? If I'm in the E-flat major? I find the E-flat and then add one. But if I have the key signature, what do I do? This one, the one before the last one. So here, what is the key? One before? So it's a flat major. So it's that easy. Let's see another one. This one, for example, what is the key right here? It is D flat major. So it is that easy. Now, we'll do a small challenge for you. What is the key that has seven sharps on its key signature? Okay? This is wonky, and then I want another key that has seven flats on its key signature. So try to solve this challenge. Pause the video right now and go for it. Okay, so now let's see, it's right here. If I want the seven sharps. So this is 1234567. So here, what is the key of this key signature? It ends with the shore. So if I want the B-sharp, the B-sharp is the leading tone. How to find the tonic? Tonic is the Tonic is, so it's B sharp. This one, the tonic is C sharp, so we are in the C sharp major. The C-sharp major has seven sharps on its key signature. This is the first one. Now the second one that has seven flats, this 11234567. So here the A-Flat is with us flat, but I don't look at the last one. I only look at one before. So we are here. The C flat major. The C-flat major has seven flats. Now, before ending this video, I want to tell you a small information. When we find the key of these key signature, we are finding the major key. Okay, so we are always saying C sharp major, E-flat major. But what if the key is minor? So there is only a 50% chance that the key is minor. But how to know what is this minor key? So we cannot say on the 50 per cent chance. See you in the next video. 20. Vid 4.5: What Is The Relative minor?: I have mentioned in the previous video that the key could be a minor. In this video, we'll develop this idea to know what is the minor key. So first thing, let's open a file and name it. Relative minor, name it like this. I will tell you later on why it's like this. Relative minor. And then the treble clef than the key signature. If you want this one. Then, then, then finish page view or single. So what is the relative minor? We find, for example, that we have the F sharp right here. No, Right here. Okay? So we have the F sharp. This, this is the key of G major. And then G-Major. It could be minor. Because in music we have minor and major. But how to know what is this minor key? We go and find the relative minor. How to find the relative minor? We go down 1.5 step. So here we are in the G major, right? F and the G major. So G-major, I have to go down 1.5 or so. I will be on the okay. So it could be the G-Major or it could be the E minor. Now there's something important you have to know. It has to be a distance of three nodes. So I cannot say that the relative minor of the G-major is A-flat, is the note E. Okay, be careful. It has to be a, this sense of three nodes called a third that we'll learn later on. So if I want, for example, let's put this one. What is the key right here? How to find that? The last sharp is the leading tone. We go up a half step from the leading tone to find the tonic. So it's a major or it's sharp. Minor, okay, Be careful. Relative minor. The major scale has a relative minor and the minor scale have a relative major. Now, if I have the relative minor, okay, for example, F sharp minor, how to go from the relative minor to the relative major? I go up 1.5 steps. Okay, so this is so easy. Now we'll do a quick challenge to make sure that you have understood this idea. What is the relative minor of the key, F sharp major? Be careful. The distance has to be three notes. Don't fall into the trap. So think about it and do it. Okay, so F-sharp major, Let's remove this F sharp major right here. I have to go down 1.5 steps. So now you will tell me directly, that's what, no, we have to go down a distance of three nodes. So F, E, D, the D, be careful, not the E-flat, it will be different. So the relative minor of the actual major is the shock. So this is everything you need to know about the relative minor IDEO and four defective per cent chance. We'll study later on in this course how to remove this 50 per cent chance in order to know if this piece of music is major or minor. See you. 21. Vid 5.1: Introducing The Intervals.: Intervals are intervals. Let's see it in this video. First, let's create a file and call it intervals. And then we'll choose the treble clef, the key signature, and then put it on time. Okay, we don't need more. Then we'll click on Finish single-page intervals. So if I want to see that this sense between me and an object's, I see it in meters. If I want to see the distance between a country from country to country, I see it and kilometers. If I want to see the distance between two nodes, I see it in the intervals. The distance between two notes, it's called an intervals. We have many types of intervals. We have the second, the third, the fourth, the fifth. We have the easiest interval is the interval of Octave. What our octaves? Octaves or like this. It is the same notes but at a horrid. See right here, this is the note C right here. So CNC are often, the difference between them is eighth notes, Let's see it. C, D, E, F, G, a, B, C. So the distance between C and C as eight nodes. Now, from the nodes, for example, from deer, Let's put the half node, okay? See the seconds. Thirds, C. Can you help me? C G, C a, C, B, seven, C, C, U. It is an octave. Okay? So how to know the interval? We just count from the node till we are right. Now for example, so let's see the C, The C, D, E, K. Okay, so lets take more examples right here. I will delete them through a delete. For example, I want from the nodes B2, okay? It doesn't matter if it's B flat and F double sharp. What matters is the name, so B, C, D, E, F, so it's a fifth. So these are the intervals. 22. Vid 5.2: Major & minor 2nd!: In the previous video, we learned the names of the intervals. We learn the second, the third, the fourth, the fifth, the sixth, seventh. These are the names. Now in this video, we're going to dive into the details of the second. First, let's create a new file and call it major and minor seconds. Why we call it major and minor seconds. Because we have two types of seconds that you are going to learn right now. Let's name the key signature, okay, tan, single page. We have two types of seconds. We have the major one and we have the minor one. The major ones sounds. This is the major one. And this is the minor one. See the afloat. But musically, we cannot just stop to this information. I cannot say, okay, the major one is the one This sounds happy and the minor one is the one that sounds sad. So we're going to dive into the details. The major one is equal to one whole step. So let's see, it's right here, the interval of seconds. We have the major, we have the minor. The major one is equal to one whole step. Let's see it. The music score C, D is one whole side because shortage or one whole step. Now, the minor one is equal to half this up. Let's see here, C. So C is equal to half a step. Let's do more exercises. I want a minor second from the node t, I want to go up minor. So let's see, the minor is half. So here what? We will have E, f, y, f, because it's the closest movement possible. Now, if I want a major from the node B, I want to go up. It will be C Sharp. Why? Because from B to C is half and C sharp is half. So half plus half is equal to one. Hold sup. And now it's time for your challenge. Your challenge will be to build a major second over the notes, F double sharp and a double flat to build a minor second over the same node. So minor second over the notes, F double sharp and a double flat. So think about it and go to the challenge. If I want to put a major second over the notes, F double sharp, okay, whereas the F double sharp, sharp rise, you have a double sharp is the same of the note G on the piano. But in music theory, they are not the same. Sharp. I want to go up, I will be on the notes, right? Let's wait. It's an interval of seconds. So I have to make sure that the distance between the two nodes is a second. So it's G sharp. Be careful it's not a, because if I went to the nodes a, it will be a third and I want a second. So it's G double sharp. Then if I want from the node a double flat like this. So it's the note G. I want to go down a major seconds, so I'll be on the cheer. Double flat. Careful it's not denote f, g double flat. And now let's continue with the minor one. I want a minor second over the notes, F double sharp. So I've double sharp. If I want a major, it will be g double sharp. But now a minor, It's half down, so it will be correct. So now let's move on to the next one, a double flat. From a double flat to G flat. It's a major one. Now I want the minor one. So it will be Jia. So be careful for just the idea. There should be a space of two nodes between the interval of second, okay? So I cannot say interval of cytokine between a double flat and a flat. Be careful. Okay, So the next lecture we are going to move to the third. 23. Vid 5.3: 3rd Major & minor.: The second, we have two types of thirds. We have the major one and the minor one. So let's create a new file and name it major and minor thirds. Let's choose the treble clef as always, the key signature, and then Dan. And then here replace single. Okay, So as the second, we have two types of thirds. Let's see if I'm right here. We have the major second, major third, and then the minor thirds. Now, the major third is formed with two whole steps. The minor third is formed by one step and a half. Let's see an example. If I want to see the notes, see the major thirds. Sounds happy. The minor thirds. That's right here, okay? Okay, but we are going to do it like this. Major third to whole-steps, minor thirds, one SAP and a half. Let's see another example. If I want, for example, a minor third over the node d will be d. Have, no, it's whole. The wall, then it's a half. So the alphabet, because it's one step and a half. Okay? Now I want a major third over denote a flux will be a flat, a, B, C half. So 22 will be the note C. Let's take the last example. I want a minor third over the novel. So here, one will be half. Be careful. It's not just because G-sharp, it will be an interval of seconds. So first, we make sure that the name is correct. Then we see the quality of the interval. A flat. And now it's time for your challenge. Your challenge will be to build a major third over the notes C double sharp and G double flat, and build a minor third over the same notes. So minor third over the notes, C double sharp and G double flat. It's easy because you probably saw the site of challenge in the last video. So think about it and do it from the notes C double sharp, where the C double sharps here. Double sharp, like this. A third major. So it will be e double sharp. You see how I'm doing it? Let's remove the double sharps, okay? If I have a balance and I put five kilogram on each one of the balance, each part of the balance. It will be like if I put 70 kilograms on each one or ten kilograms on each one. And if I keep adding the same weight on each part of the balance, there will be the same. And it's the same thing right here. It's C. C is the third major. So here if I see double sharp and E is our short, the third major also, if I told you I want a third major over the notes C double sharp, you simply calculate it from the note C, So C, and then you add double sharps. And it will be the same thing for the note. G double flats. G double flats. Let's remove the double flat and go up a third major. So G, B, and then add the double flats. You see? Now let's build a third minor over the notes. C double. Let's build a third minor over the notes here. So it will be seeing then E-flat, and then we'll add the double sharp. So here double sharp. And then here we have, then the shock. Be careful. And now let's add with the note G double flat. So G double flat, if I want to go up, be careful there is a trick right now. Set B, B double flat, but that is the third major. So B triple flats. I don t think this exists in music, so don't worry about it. Just move on from this. I just want to introduce the idea that we will not be able to put double flats. So this is all you need to know about the third major and minor. 24. Vid 5.4: Perfect 4th.: Interval of a fourth. We don't have a major forth and minus four. We only have a unique type and it's the perfect fourth. So let's create a new file name. It's perfect. Fourth, treble clef as always, key signature than, than single pitch. How to form a perfect fourth? First thing, What is a perfect fourth? What is a fourth? For example, cf. Okay, this is a perfect fourth. Now it's formed by two saps and a half. Let's count them. See, whole, whole half. You have all the force on the piano. White keyboards are perfect. Let's see them. For example. A, B, C, D, A4, and it's the white keys. So AD, so a, b one, b, c, and c, d one. So two steps and a half, I say perfect for all the force on the piano, what nodes are perfect? Now let's see, for example, from the node a flat. I know that from a to D, it's a perfect fourths. So let's play the balance. I add here, have, I remove half here? I have to remove her from the node D, So it's the third and the flat, okay? If you want, you can just calculate it, but it will be a waste of time for you. Now, I mentioned that all the fourth on the piano are perfect, except of one. There's one perfect fourths. There's one force on the white keys. For my only the white keys, that is not perfect. And you have to find it, and it will be part of your challenge. You have to find the force that is formed by the white notes on the piano that is not perfect. So go for it. Let's see them together. See perfect, DCG, perfect, because perfect half hole. So three whole steps. Is it a perfect fourth note? So all the fourth, let's make sure that the other ones are perfect. G, C are all correct, correct? Correct. So all the force formed by the white keys are perfect except the app, It's an exception. Now there's more qualities of the fourth interval, like the augmented or the diminished. But for now let's stick only to the perfect. 25. Vid 5.5: PERFECT 5TH.: The perfect fifth, it's slightly forth. We don't have major fifth, minor theft. We only have the perfect fifth. So let's create a file, perfect fifth. And next the treble clef, key signature, single pitch. Now how to form a perfect fifth? We form it, for example, with denotes C, and this is a perfect fifth. Why? Because a perfect F is formed by three steps and a half. So three steps and a half. Now let's see, for example, the DA, dy. Okay, so three steps and a half. We can think about it in a easier way. A perfect fifth is formed by two opposite towards. What do I mean by opposite thirds? So first, what are the qualities of the third intervals? We have the major third, minor third, major third to hold sets, one set and a half. So it will be a major third plus a minor thirds. So then here, major and minor, so it will be C, G. Let's check it. Perfect. Yes, it is. Now if I wanted to fall, for example, from denote E, it doesn't matter if I start with a minor third or with a major thirds. What depends is that we have two opposite dirt. So here let's start for example with the minor one. E, G is a minor third, then this year is a major one. So ie. Hey, What's ear? Okay, So this is how we form a perfect fifth. Now, all on the piano keyboard, or perfect, that are formed with the white nodes. So EB are perfect except one and you have to find it. So it will be part of your challenge. What is the interval of a fifth formed by two nodes? That isn't perfect. So think about it and go do it. Let's see them right here. Cg, perfect, two opposite thirds, C, C, E, G. It's the FFA, yes. I mean EB, a major, a minor, G major, then B D minor, E minor, C major, D minor, F minor. So can we have two minor, minor thirds? It's not a perfect fifth because B is four by a third minor, third minor. So it's not a perfect fifth. You see in the previous video, with the perfect fourth, we only have the B, the B, F, fbi mean that isn't perfect. And here we have the BF, b, c, d, e, f. That isn't, Let's try it with half-note. The app. That isn't a perfect fourth. You see f b, b, f, b, f. So we can call it best friends. All the white notes on the piano keyboard, or best friend, except the beam. Now as the fourth interval, we have like the diminished fifth, we have the augmented fifth, but will not be learning in this video. So just stick to this idea and make sure that you have understood everything. 26. Vid 5.6: Major & minor 6th.: The interval of six. There are rare and music. We don't see them and use them a lot, like the third and the fifth. But we have to study them because they will help us later on in this course. So first, let's open a file and name it major and minor six. Okay, we have major and minor six interval. And now that's the treble clef, the key signature. So the minor six, we'll start with the major ones. The major six is equal to 4.5 steps. I have always refer to the Nazi because it will be easier for you. Ca is a major sixth, we can hear it. Now, the minor one, C. Okay, so this is the happy one, and this is a sad one. The major six is four, with four steps and a half. And the minor is formed by three whole steps and two diatomics. But okay, let's make it four whole-steps. Don't, don't take it like this because we have chromatic, diatonic will not be learning gets right now. So for all sets, Let's count them together. 1234, okay? So it will be four whole-steps and the major 4.5. But now, this way is so complicated to form. Every time I have to form a major or minor, I have to count for it so difficult. So it will be part of your challenge. You have to find a way to recognize the six major and minor faster than this one using the interval of third major and minor. So I'll give you a small hand, try to invert the notes, it will help you a lot. So this is a difficult challenge. Tried to think about it and go do it. So how to use the interval of third ends? If we see right here, let's start only with the major ca. If we invert it, it will be a C. So this is a interval of thirds. Aci, ACA detours, and CA is a sick. So as you see, this is a major six. We are okay with that. And AC is a minor third. So the opposite, this one. So here we have six plus three, or equal to nine, always the core, the interval plus the inversion of it is equal to nine. Let's try it. For example. B here, interval of seven, and here a second seven plus two equal to nine. Now let's see the qualities. We mentioned that the names are equal to nine, the equalities c, a is a major. Here is a minor, D, B is a major, B, D is a minor. So you see it's the opposite. Now let's take another one. C, C, E-flat, A-flat. Okay? Here we have a minor sixth, and here we have a major third. You see, it's the opposite. So this is the idea on how to recognize the major six and minor six and a very fast way. Now, there's other types of six slides, the augmented and diminished. But for now let's stick to these two types and make sure that you have understood them. And the next lecture we will move on to the major and the minor seventh. See you. 27. Vid 5.7: 7th Major & minor 7th.: Interval of seven. In the previous video, we learned that we have major and minor six. In this video, we are going to learn the major and the minor seventh. So name is right here, major and minor seventh. And then click on treble clef, this one, and this one. Single-page how to for a major or minor seventh, it will be part of your challenge. So at the beginning of the video, I'll give you a chance, give me a technique to form the major and the minor seventh. You can use the technique that we have used here. Six plus three, the interval plus the inversion equal to nine. So try to use it right here. Think about it. Pause the video right now and go to the challenge. So how to form the major one? If I have, for example, see, it says seconds. Seconds plus the inversion of it is equal to nine. So two plus seven equal to nine. Are we okay with this? Now, let's see the qualities. Major second, minor seventh. You see how I'm doing it? The quality we inverted. C, D major. Second, why? Because one whole step, so c is equal to a minor seventh. Let's repeat, for example, if I want made a major Seven, What do I do? I write minor seconds and I inverted. You see how I'm doing it? So easy. Now, if I want, for example, a major sixth, what do I do? I write a minor thirds. I inverted. So this is all the idea of major seventh. Minor seventh. There are not that complicated because other teachers make it complicated. Why? Because they use difficult techniques. But the seventh chord or not that common in music, they are like the sixth, but we see them more. But it's not like the third, the fifth, we have other types of seventh. But for now let's stick to the major and the minor for this section. Make sure that you have understood everything because we'll need it later on the scores and see you in the next section where we are going to learn the triads. So hope you understood everything that you have learned in this section. There are so important. The major second, minor third, perfect, perfect six, and the seven. We should know them in order to understand the triads. See you in the next section. Bye bye. 28. Vid 6.1: Introducing Triads.: Welcome back my fellow music theory students and this new section we are going to learn the triads. So first, let's open a new file and name it triads. And then we'll choose the treble clef key signature, and then put it here on ten. And then we'll click Finish single pitch. Okay? So here what you will have, what is a triads? Triad is a group of three nodes that we play them together. For example, if I have this note E, I'll play them together. This is a triad. Or if I have these notes, Let's name them. Or if I have these notes, this a triad, if I have these notes, Let's put them. G flat, a flat, B, double sharp, D, double sharp. Okay, This a triad. Why? Because it's a group of three nodes. So the structure of the courts is roots. This is the root node or the bass notes. It supports the chord, the third and the fifth. In this section, we will study many types of them. For example, we have the major chord, the minor chord. Then we will study the inversions of them, the Roman numerals and many other informations. Hope you are excited to learn everything and let's get started. 29. Vid 6.2: MAJOR CHORDS!: Previous video, we learned what our triads, Now we'll see the types of the triads. So in this video, we are going to study the major chord. Let's open file and name it major triads. And then choose the treble clef signature. Okay? What is a major triad? First, think, what are major chords or major triads? We learned that the major thirds sounds happy. So the major triad also sounds. Let's hear it. Now. This one, for example. Now let's share this one. Is this a major triads? No, it's not a major. So now I'll do a quick ear training for you. Is this a major triad? Yes. This image of stria? No. Is this a major triad? Yes. So if we ask someone, or we ask anyone, they will know it by ear, that okay, if this is a happy, so this is a major chords. But we should know them correctly in a professional way, not like my grandpa or any other person. So how to four major chords? Major chord are formed by a third major than a third minor. What do I mean by that? What our third major? Third minor. Third major. D major. No. This is a third major. So after the tour, manager will need a third minor. So a, because a is a third minor. So what do we have right here? Third major, third minor. Let's share them together. Okay, now, let's see the remark right here. One plus two is different than 2k plus one. What do I mean by that? A major chord is formed by third major, third minor. Third minor, third major. Let's try to invert the third. Let's try the third minor. Third major. A major chord. No, it will not be a major chord. So please, third major, third minor. A plus B is different than B plus a. I'm not responsible if you fail your math, we can only apply this rule and music. So let's zoom more. I want you to form a major chord from denote f, third major from F to a than third minor from a to C, I want you to form a third major from the node B flat. B flat, third major, third minor, D, F. Let's see. Let's zoom or I want you to form a major chord from the notes E flats. E-flat, major, G, B-flat, so minor. Okay? So you have to be comfortable while putting the third. You need to master the interval part to ape, to be able to play these chords. And now it's time for a small challenge. And your challenge will be to form a major chord over the notes F sharp and C flats. So go do it. Okay, welcome back. So now that's corrected together. F sharp. If I start with F sharp, F sharp, I want a third major up, so a sharp. Then it's the same. Then f a, see, Why? Do you remember the balance technique? If I add sub to each nodes, the chords will be the same. So here we have a major chord and here we have a major chord. Let's hear them. Major and major. And now let's add over the notes, C flat. C, C-flat. Let's remove the flat. Let's do it right here. I want a major chord over the note C. So it will be C, third major, third minor to the note G. That you get the idea. Now let's add, sorry. And now let's add a, A-flat, D-flat, G-flat. Is it hard? So this is all the idea of major chords. And the next video we are going to learn why one plus two is different than 2k plus one. In real examples, we have a new lesson and the next lecture. See you there. 30. Vid 6.3: minor CHORDS..: You are thinking why one plus SU is different than two plus one. So in this video, I'm going to give you another example that will help you understand this technique. So let's open a file name it. Minor chords. Okay, what are minor chords weights? Let's finish. Treble clef, key signature then. Okay. What are minor chords? They are courts. That sounds sad and depressing. So for example, this one. Oops, let's put it. So this is the major chords. This D minor. Okay, let's see another minor chords. Let's see this one for example. Okay, let's see this one. Okay, Now let's do a quick your training. Let's remove this. Is this a minor chord or no? Notice a major chord. Why? Because we are here, we have third major, third minor. So let's do another one. For example, I want is this, wait, let me finish it. This a major or a minor semimajor. Okay, So now as the major chord, if we ask anyone, they will tell us by year. Okay, It's sad. It's a minor chords. As you mentioned in the previous video, we should know them correctly in a professional way, not like grandpa or any other person. So how to form a minor chords? A minor cord is formed by third minor. Third major. Third minor. Let's form a minor chord, for example, from the notes E. Okay? How do we form it? Third miners from denote here. So E G, then third major G. Okay, let's hear it. I want to, for a minor chord from denote f, F minor. So a flat, careful than c. Let's hear it. Oh, okay, So this is how we, this is how we form the minor chords. Now, why one plus two is different than 2k plus one. Because n, The third major and D major chord. If we have a C, here, we have third major, third minor, D minor chord. We have third minor, third major. Third major. Third minor is different than third minor. Third major. I will repeat it again. I'm not responsible if you fail your math stats. We only apply this rule and music theory. Let's do more example. I want to form a minor chord from the notes. Be sure. How do I do it? Do you have an idea? Let's take like the balance. Here. It's a minor chords. Then I add the sharp to each nodes. So hard. And now let's do a quick challenge. Your challenge will be to build a minor chord over denotes a short and E-flat. I'll give you a small hint. Use the balanced technique. It will be easier for you. So go do it. Okay, So let's form a minor chord over the, a sharp. A sharp. Let's use the balanced technique. So to be a minor tends to major. And here it will be. We have to be careful. Because on the piano, It's what in music, it's sharp. Be careful for this points. Now let's make the E-flat minor, okay? If that, Let's use the bass technique. Why? Because AJ third minor, third major. And now let's add the A-flat to each one. The flux. Okay? Is it that hard? So now let's see the name of the chords. The name of the chord is first the base plus the type of it. So here we have a minor, here we have a sharp minor, he will have E-flat minor. Here we have E minor. What is the name of this chord? F major. What is the name of this F minor? So you see how we are doing it. And this, everything you need to know about the minor chords. 31. Vid 6.4: Understand The Inversions!: In the previous videos, we learned how to form a chord with the form of root third, fifth. And this video we will see other structures. So now let's open a new file, call it routes. First, second inversion. Let's choose the treble clef. This, this, okay. We have three structures of triads, codes. We have three. The first one is the root position, that is base, third fifth. We see it in the previous videos. It's the base, the third fifth. So for example, I cannot have a code like this because its roots, its root six. Now let's see the other type, and it's the first inversion. This is something new. What is the first inversion? It is when we put the third. Here we have the base third fifth. The first inversion is when we put the third database. So for example, if I want the first inversion of the chord, C major, first thing, what do I do? I write the chord of C major, so it will be C, E, G, right? And then I put the third at the bottom. So CE, I mean, okay, then we continue normally G. Then we still have a node. Be the note C, C, G, G, C. They sounds, similarly. They sound the same. Okay, So let's hear them again. Cg, GC, okay? Now let's see the other type. Or before doing this, Let's see another example. If I want the chords d minor in first inversion, okay? The inversions are not only for major or minor, there are for all types of triads. So here what I have D is this third. So I put it at the bottom. And then I continue normally to D. Let's hear them. Okay. So you see how we are building them. And now let's see the other type. And it's the second inversion. How to form the second inversion? It's when we put the fifth debase. So we have the root position. When we have base third, fifth. The first inversion is when we put the third at the base. The second inversion is when put the fifth database. So let's use this right here. If I want to put the chord C major, C major C, C G at the second inversion. What do I do? I put the note G at the bottom, so it will be G and then continue normally to this C and D. Or it can be g per year than the notes. C. Weights where the notes you can, you tell me? It's right here. So the notes C, Alright. So it will be G, E, C. Let's do another example. I'll do, for example, the chord F minor form the F minor. F minor. No, because I need a third minor, third major. So f a is a third major. How to transform a third major, third minor, I go down. So F, a flat, C, I want it at the second inversion. What do I do? I put the fifth, okay, So it will be C. Then. Can you help me be careful for the alteration? A flat. Okay. So now we can write it like this. I can go down with this, see, Okay, go to this C, be the same because they are both C. And now it's time for a small, cute each challenge, your challenge will be to write the scale of a flat major and form a triads. Whatever it is, major or minor, it depends on the alteration of that scale. Okay, So just put triads over each node and be careful for the alteration of the a flat major. And then transform the major chords to the first inversion and the minor chord to the second inversion. So this is a big challenge. I want you to concentrate with me to concentrate to the exercise. Pause the video right now and go to the challenge. Okay, So before doing this, Let's try the a flat major. What is the key signature of that scale? It is a flat major, so I count the order of flat cells arrive to the a, and then I add one, right? So it will be a, B, E, a, and D. So this one, Let's put it, this one. Okay, this is the key signature of the a flat major. And now let's try this a flats. Let's start with denotes a. We can continue. Normally. It will be a, B, C, D, E. Okay, so here we have, because we have the alteration, I'm not worried anymore because we have the key signature. I'm not worried anymore about the whole, whole half, whole, whole, whole half, because it will be automatically added. And now let's add a triads over each nodes. So it will be, Let's see. Yeah, I'll add a triad, whatever it is. Then. Okay, and now let's see the codes. What I want and the challenge is to transform the major chord to the first inversion, the minor chord to the second inversion. So what is it? Nine of this course? It's a major chord, so a flat, C, E, I want to transform it to the first inversion. It will be C, E-flat. And now let's see the other one. B-flat, E-flat. A-flat, D-flat is the third major. Then. Now be careful, B-flat is a third minor. Why? Because here, if I have media is third minor, so B-flat, D-flat is a third minor, also, the balance technique. So third minor than D-flat major. So this is a minor chord. Let's transform it to the second inversion. Let's move these nodes. I have B-flat and E-flat. Now let's put them. I have the B-flat, E-flat. I'm not worried about the alteration. Why? I can hear remove the alteration. Why? Because I have it on the key signature. Okay. And now what we have here, C, C, E-flat, to be careful for the alteration you care for, for the, for the key signature right here. How to do it? First? This is a minor chords, okay? So I have to transform it to the second inversion. I have C and E. Here. I can add than the notes. See what? It will be easier. See them too. I cannot have like notes flying all over this stuff. Here. D-flat, E-flat major third minor, third major chord. So to the first inversion will be F, a, D flat, E flat. Here what we have, you helped me. Your flat, G flat major chord to the first, then F, a flat, C minor. Seconds. Here, a flat, flat. So it's minor third, minor third. Careful, it's not a minor triad and it's not a major one. So be careful we have other types of triads. We don't have only like minor or major. So be careful when a chord is, when a triad is not major, it's not mandatory to have it as a minor chords. Be careful for this point. And here we have the a flat, C, E flat, so it's a major to the first inversion. So here we'll add the notes. 32. Vid 6.5: Eliminate The 50 % Chance.: Remember when we talked that in the key signature, we have a 50% chance. So it can be the major one or the relative minor. In this video, we are going to see how we are going to remove this 50% chance. So I brought the Beethoven's Fifth Symphony if you want to hear it. You probably heard that before. Okay, so what do we think this song? Is? It a major or a minor one? Now, after hearing it, It's a major. Okay. Now we are going to see why it's a meter. So when we have to think about a major or a minor 1, first, let's discover the key of this piece of music. What do we have here? We look at the key signature, B-flat, E-flat, A-flat. So we are in D. We look at the one before, right? We are in the E flat major, or we are in the C minor. Okay, so let's see here at which we are. When determining the key. We look at the first and the last courts. So if we look, let's look before at the first call. What do we have here? Gtg, E-flat. So here we cannot determine if this is the E-flat major or the C minor. Why? Because the C minor is composed by the notes C, E flat, G. And here we have C, we have E-flat and the tea. And the E-flat major is composed by the note E-flat, G, B-flat. And here we have denote a flat, E flat, G. Okay? So, and more, in most cases, we have, we can determine from different schools, but we have to make sure from the last call, Let's see, it's right here. E-flat, E-flat, A-flat, D-flat. So here we have the E-flat major. Could this key, with the key of this piece be the C minor? Know why? Because at the end we have, so here we have the fifth degree, the B-flat, we'll be learning later on in this course how to determine the fifth degree with cadences and so much softer. And then we have the first-degree here. In the next video, we're going to learn the Roman numeral of the codes. So here we have the E-flat major. So this piece of music is the EF, is the E-flat major. So what do we learn in this video? It's a small one to know if this key is, if the piece of music is major or minor. We look at the first and the last course. 33. Vid 6.6: Roman Numerals & Functions!: Remember the scale degrees when we were like putting Roman numerals, the bottom of each node and the scale. Now we'll study this scale degrees and the courts. So first let's open a file and name it. Roman numerals. Roman numerals. And then treble clef as always, key signature than single pitch Roman numeral. So first, let's try, for example, a scale. I will pick the C major because it's the easiest one. Okay? Okay, Let's remove this. We just select it down here and then press Shift. Okay, shifts. Or you can press your press shift, this one to select them all. And then right-click, remove selected range. Well, let's see what we have. If I want to add a chord on each node. Okay? Can you hear me? Yeah. Okay, now, let's try the Roman numeral under each one. So this is how to add text Roman numeral. So this is the first and this is the second. This is the third. Can you help me? For 677 than the eighth? Okay. The H or D1? D1. Okay, now you may ask me, why do we have uppercase? Lowercase? The upper case means the chord is major. So let's see the uppercase and this scale. I mean C, E, G major. C major. The major. Now let's see the minor. Third minor, third major, a minor chords here, third minor, third major. And here the same here, the major. Now here, this is a diminished. Why? Because we have third minor. Third minor, we had like a 0, but don't worry about it. Let's just remove this so we'll not get confused. Okay, so by using Roman numerals, it tells us the scale degree of the cord. If it's on the first, the second, the third, the fourth. Plus. It tells us if it's a major one or a minor one through the capital, a capital letter, lowercase. Okay, now it's time for you a small challenge. Your challenge will be to write the codes 1645 of the key of a major, okay, be careful if it's a minor or a major. So pause the video right now and go do it. Okay, so now let's try the a major. Let's delete these ones. Okay, Then view. Where's the a major? A major, I find the leading tone, so it's sharp and start counting that fetch Ali. Okay, So here, what do we have? F, C, G. Then I start putting the nodes. The first AAC just tried to like this, it will be automatically shorter than the six a, B, C, D, E, F. So a, sorry. Okay, now it's sharp and C-sharp. Now the fourth, so a, b, c, d, so d a than the five, it will be D a, B, C, D E. So E, G-sharp, B. So let's hear them. Okay, So remember this type of course progression, the 16 minor than four and then five, because we'll use it later on in this course. 34. Vid 6.7: Advanced CHORDS Types.: Before ending this section, I would like to share with you some of the advanced music theory knowledge and the triads. Why? Because this will help you more to fix the idea of triad and your head. So first, let's open a file and name it augmented and diminished triads. Let's try them. Okay? Choose the treble clef key signature, okay? Now, and the augmented and diminished, why do we have what is an augmented chords? And augmented chord is composed by 2 third major. So if I want and I've mounted cord from the note C, it will be major, then here, major. Okay, so 2 third major, Let's hear it. It's pretty weird now. And then a diminished chord, we form it by two minor chords. So for example, let's shoot it. Okay, Let's do another example. If I wanted to for diminished, augmented and diminished here. So here, let's write it first thing. And then here I want augmented third major. Third major here I want diminished plus, sorry, minus. Okay, It's that easy. So hope you get the idea because we will not be using them so much in this course, we use them rarely and music, no challenge. In this video, you can take a break. At the end of this section, you have passed a very big step since you have started the course when you're just a beginner who don't know how to read notes. Remember when we were reading no side CD and you're struggling with them. Now we have passed a very big stuff. Hope you are enjoying our course and I'll see you in the next section. We are going to study something new. 35. Vid 7.1: Intro To 7th CHORDS.: Welcome back my fellow music theory students in this new section. So what are we going to do? We are going to study the seventh chords in the previous section where we were learning the triads. Now in this section we are going to study the seventh chord. So let's open a new file and name it seventh chords, okay, like a small introduction. And then treble clef, key signature. And then here we will need like, Okay, let's put it down and then we'll click on Finish. Okay, so what are the seventh chord? We learn that the triads are three nodes, okay? So for example, C, E, G triad. Why? Because it has three nodes. Now, a seventh chord is a core that has four nodes. So for example, C, G, or C, E, for example, double sharp, G flat, and B, I don't know, double sharp, but discord don't exist. But the seventh chord, the idea of it, is a chord that has four nodes. So in this section, we will study many types of them, and we'll also study the inversions of them. Because as triads, seventh chords also have inversion. So hope you are excited to learn everything, and I'll see you in the next video. 36. Vid 7.2: Major 7th Chords.: So in the previous video, we learned that we have many types of seventh chords. And this video we will start with the first one is the major seventh. So we will create a new file and name it major seventh chords than travel as always, your signature than single page. Okay, so how to form a major seven scores? We built, sorry. We will a major triad, for example, from denotes C major triad, so it's C, U, G. Then we built a third major over these nodes. Okay, So let's hear it. We usually use it into jazz. Okay? So here, if I want to form, for example, a major seventh chord from denote D, what do I do? D, F sharp, a. Be careful. F sharp. Why it's F-sharp? Because I need a major triad. Then I add a third major. If I want, for example, from the notes, B-flat, B-flat, D, F than a, less than this one. So we usually use them into the jazz music. Let's take one more example, for example, in the notes as a C, and then you write or she. So this is a major seventh chord. Is it hard? So this is all the idea of major seven. I will not take like a 20 minutes video to explain all the major seventh chord. I just want you to know the basic idea of it. If you want, you can't continue with it. But this is all the information you need to know about the major seventh chord. 37. Vid 7.3: minor 7th Chords.: In the previous video, we learned that we have the major seventh chords. So in this video, we have the minor seventh chord. So let's name it minor seventh chords. And then the treble clef, the, okay, then, okay, finish single-page. So how to form a minor seventh chords? We format using a minor triads. So for example, if G then a minor, so hard. So the major seventh chord we format using major triad plus. Here we use minor triad plus a third minor. Is it hard? Let's take another example. Let's form a minor seventh chord from the note F Kennedy, do it. F, a flat, flat. Okay, so now let's form, for example, a minor seventh chord from the note E, G, Y BY It's not be flat because I need a minor triad, then they know why it's not D-sharp, for example. As I need a third minor, Let's take another example. C, E, G. B minor chord is a minor. Know why? Because this image or one major triad plus a third major, so I transform it to minor E-flat. This one, is it that we have many other types of seventh? It's not mandatory to have only major or minor seventh. In the next video, we'll learn the other types of seventh chords. 38. Vid 7.4: THE DOMINANT 7TH CHORDS!: Other types of seventh chords. So let's create a new file and name it. The dominant capital letter. Okay? The dominant seventh chords. How to form it? Let's see, treble clef. Okay, Are you with me now how to form the dominant seventh chords? We form it by this. So major triad plus third minor, okay, In the previous videos, the major seventh chord, it's major triad, Major third, minor triad, minor thirds Here. Major triad, minor thirds. So let's hear it again. Oh, okay, now, let's see other types. So if I want it from the G, so it will be major, minor thirds. So again, if I want it from the C major laws, the mile, you see it creates a like a tension to resolve to something. Or this one. Imagined resolving to the CG. Together will be resolving to the score. It creates like a tension two resolves to a node or a chord. And now we'll see how to know this from where or where it will resolve. So, for example, the founders from the B-flat, let's make it difficult. B-flat, major and minor. So a flat, the dominant seventh chord, is the most majestic cord and the scale. Now we'll see why. Let's try it. For example, the scale of C major, okay, C major, C, D, E, F, G, a, B, C. And let's try to record over each node. Okay? And then, okay, and then write the seventh chord over each node. So here, sorry, than the sun. Let's hear it. See it. Okay, let's hear them. Where we will create this. You see, this chord is different from the other ones. Okay, so now let's try the Roman numeral of each one. This one, it's one capital letter or lowercase capital. And here it's two lowercase. Can you tell me why that's a minor chord? Year three, year four for this year five. Year 57. You know why 57? Because it's a dominant seventh chords. And here it will be seven, I'm sorry. It will be six, okay. Like this. And here it will be ups. And here it will be, Let's leave this code because it's the diminished one. So here the c, E, G, B major or minor, minor, major, dominant seven. So the key is, the dominant seventh is always on the fifth degree. Let's see, for example, can you give me the dominant seventh of the scale of G major? So in the G-Major it will be G, a, B, C, D. So from, Let's try it for example, the G-Major. Okay, let's make it faster. G, a, B, C, D, E, F, G, F-sharp. Why? Because of the key signature. Now, the fifth degree is 12345. So here, let's build a dominant seventh over here. So here it's F sharp, of course. It's always on the fifth degree and you can know it from this sound. Okay? You can know the downside fans because it creates like a tangent I have mentioned in the beginning of the lesson. So it's great attention to resolve to the tonic. To the tonic chord is the tonic chord in the scale of G major. It's okay, the tonic. So it's now it's time for a small challenge for you. And your challenge will be to think about how the dominant seventh chord can help us to know the key signature of a piece. This 50% that you have mentioned before. So it's a bit tricky right here. Remember, I will give you a hand, the fifth degree. Okay? So pause the video right now and go to the challenge. Okay, So for that, I brought you the Beethoven's Fifth Symphony that we have listened before. We mentioned that it's on the E-flat major. Why? Because at the end It's E-flat, E-flat chord, but in the reality, it's not E-flat. All the piece of music, it's just at the end. Here we have another one. We have the other option that it's C minor. But now let's listen to it and let's see where is the downside? You can know it from its sound. Let's hear it. Okay. This one, okay, so let's see what this chord, It's G, B D F, G, B, D, F. That stretch right here. Gbd. This a dominant seventh chord, right? And we know that the dominant seventh chord is always on the fifth degree. So if I know the dominant seventh is on the fifth degree. So the G is the fifth degree of the key. So the key is on the D, C, So it's on the sea. Now, we have the option of C minor. So this is on the C minor at the beginning. And here we have the dermis. So here we are on the C minor. You see how the dominant seventh can help us to know the key, because it can help us to remove this 50 per cent chance. But we can just look at the end or at the beginning. But now we know that here at the beginning we were at the C minor. So in the next video, we will study other types of seventh chords. Make sure that you understood everything about the seventh chord, the dominant seventh one, because it's the most important one. See you. 39. Vid 7.5: Seventh Chords Inversions.: The triads have inversions, the seventh chord have also inversion. So let's create a new file, call it seventh chords, sorry, seventh chords and versions. And then a strict on treble clef, key signature, and then click on Finish than single page. Sorry, Okay, single pitch. Now how to form the seventh chords, inversions. We have four types of this. Okay? So we have the first inversion as we known before, the root position and the second inversion that we learned in the triads. First inversion, we put the third database. So if I have, for example, the C, d, we put the third at the base, so it will be E, G, B, then C. Then the root position is the base. Third, fifth, seventh. Okay, be careful. So base. And the triads, we didn't have the seventh. So here we'll have it. Let's add the seventh. And the second inversion is when we have the fifth at debase, correct? So you remember everything we learned about the triads? Let's do a quick revision right now. There's the root motion, root here, the first inversion here, the second inversion that's sorted. The B-flat so we can recognize the dominant seventh chord. Okay, So this is wrong. You see how I can know where I'm playing it wrong. So what is the here, okay? So you see how I can know directly, whereas mistake. And then we have the last type, and it's the third inversion. The third inversion is when we have the seventh at the base. So here what you will have if I have the 7th, so the B-flat is at the base. Then we continue normally, d, e, g, Let's see. Sorry. Let's hear it. Oh, okay, you, so you see how we can form the dominant seventh. It's not mandatory to have done in Southern. Let's show this. Okay. You see how we can form them. This is the root position. First, second, third. Let's do more if I want, for example, in the AC, okay, this is the root position. Why? Because it's true root. Third, fifth. Let's do it a year. You see, when we have two notes after each others, we don't write them like this because we cannot, they will not be enough space because you just score will automatically write them like this. In this way. Now, if I want to see you, I will start with the notes here. C than a. Hi. Okay? Then I want the second inversion. This is the first second, and now we need the third. Let's start from here. Okay, you see how I'm I doing it? So now this is everything about the inversions of the seventh chord. And the next two videos, we'll learn new types of seven scores. So sick to me, till the end of this section. 40. Vid 7.6: Fully & Half Diminished Chords.: New seventh chords types. We have the fully diminished and the half-diminished. Let's open new file and name the fully diminished, diminished seventh chords. Now we'll show the treble clef. Okay, Let's put single-page. How do you know the fully diminished seventh chord and the half-diminished seventh chord? Now, it's that easy. The fully diminished, we form it all by third minor. So I have to put third minors on top of each other. So C, E-flat, G-flat, B-flat. Okay. Oh, you see how I'm playing it? Third minor, third minor, third minor. Let's do another one. Say image y, because it's a major triad plus a third major. A flat. Laughs. Why? Because they see criteria. Third minor, Let's start with the balance. We add to each one, a flat, they will be the same. Okay? So see a flat ban from ear to ear double flats. And here it will be B double flat. Why? Can you tell me why? Because from C to B. Okay. From G to B, it's a major. Sorry, from G to B, it's a major, so G-flat, B-flat major. I cannot do it like this. I lower this one. B double flat. It's a bit difficult, but you will be, you'll play it easily, especially that it's not that common to have them into music. Now that state, for example, from the eNode B, D E-flat than or from D, E, F, G flat. If you see how it's easy. So this is the idea of the fully diminished chords. Now let's go to the half-diminished chord. Let's read the note. Let's go from here. The half-diminished chord is a diminished triad plus a third major. Demonstrated how to format a third minor. Third minor. Now a major triad. So like this from cheer, for example, she told me it's a third minor. Third major, Be careful. The balance will be third major also, from G-flat. B-flat is a third major. Now let's create another one. They have diminished from the note F, A-flat, C-flat. See if flat like this is not. Why? Because on the piano, It's, the notes be, in music, it's not the node v. Be careful. So A-flat, C-flat then denotes, can tell me I need a major, you know, it's E flat. So this is all the idea of fully diminished and have diminished. And the next video we will study the last type of seventh chords. 41. Vid 7.7: minor-Major 7th Chords.: The last type of seventh chords, and it's the minor, major seventh chords. So let's open a new file and name it minor major seventh chords. It's admire a sudden major, its name, it's minor, major chord. Okay? So it's one chord and name minor major chord. So how to form this chord? It's formed by a minor triad. Then guess what? Minor triad? Then? Third major. Is it hard? Oh, this is the minor major. For example, if I wanted from denote f, F minor major triad from the notes, G minor. G minor. Okay, then major triads, minor, major, you see how we are forming it. It's not common to see this chord and music. We don't see it in music that much, but it's important to know it as music theory knowledge is enabled to finish this course. So let's do the last example before ending a, say a G sharp. Okay, so you see how we are doing it? It's that easy. It's not that hard to know. The seventh chord, we started with the seventh chord, the introduction, this weird code that I don't know from where we got it. Then, the major seventh, the minor seventh, the dominant seventh chord. This seventh chord, inversions and then they fully and have diminished, and now it's the minor, major seventh chord. So this section, I hope that you have understood it so much because it's so important to know the seventh chord will use later on in this course to be able to finish our music theory and formations. So, see you in the next section. Bye bye. 42. Vid 8.1: What Are minor Keys?: Minor keys. What are minor keys? They are like the major key, but we have small difference with the alteration. Let's create a file and name it. Minor keys than treble clef, e-signature than. Okay, So we know previously that the major key or the major scale, for example, the whole, whole half, you remember it. C, D, E, a, B, C, and D minor keys. We can have small difference. For example, this one is lower by this. And we'll see many types of minor keys and the next videos, we have three types. We have the natural minor key, the harmonic and melodic sick to meet till the end of this section, because monarchies are so important in music theory. 43. Vid 8.2: Natural minor Keys.: We'll start with the natural minor scale. Now let's open a new file and name it natural minor scales. And then treble clef, this one. This one. Okay, so what are the natural minor scale? They are the most common types of minor scale. And the default one when a musician refer to a minor scale or minor. But we have three ways to learn the natural minor scales. And at the end of this video, you will choose which one you prefer. So let's see them. We have three ways. The first one is the whole setup and half. So what do I mean by that? Remember the pattern of the major scale? Whole, whole half, whole, whole, whole half. Now in the minor key is we have the whole half, whole, whole half, whole, whole. So if I want to sort the a minor, a minor, it will be a whole, this whole whole whole half. Then what do we have? Whole half, whole, whole, whole, whole whole half. So because E to F, Let's put the piano right here. The closest move and possible, then E to F and F to G. Sorry. You will see later on what is the set E to F, then F to G, then G two. So this is how we form the natural minor scale using this pattern. The whole half, whole, whole, half, whole, whole. Now let's do another example. If I want, for example, as the D minor out form the D minor natural, the denature, the hole. So it's yes. Then if you see the D minor is the relative minor of which major scale of the F-major. F-major always has the B flats. Yes, it's the exception. So let's do it. Okay, you see how I'm doing it? Now? Let's see the other way. And it's the relative major scale. How do we know this? Three steps up than playing starting from the minor route? What do I mean by that? Let's say, for example, let's put right here the a minor, okay? We'll start with the a minor. What is the a minor first? What do we do? 3.5 steps up, then play starting from the root. 3.5 steps up. It's three members. It will remember you by the relative major, right? How to find the relative major? I go 3.5 steps up. So let's find the relative major of the a minor, C major. So we'll put this image right here. C, D, a, B, C. Here what we have, we'll start playing from the minor route. What is the minor route? So it's a, we'll start by denote a. Okay? Then of course, if I start with denote a, our finished with the a, so that's removed these nodes. Let's remove this. Okay, so here we have the same result. No. Let's take another example. I want the D minor, D minor. D minor, so it's the F-Major. I will write the F major, G, a, B-flat, C, D, E, F. Then I will sort with the, with the root of the minor and then normally remove these nodes. Okay? Now, let's see the third way, and it's the parallel major scale. How to do it? We take the major scale and lower the third, the sixth, and the seventh by half. So let's take an example. If I want the a minor, let's stick to the a minor because it's the most easiest one. I take the major one. So it's a major. What is the a major? Let's put it right here. A major. Can you help me? Sharp, G sharp. Okay, let's try the a. Now we can put on the key signature, The C sharp, D, E, F sharp, G sharp, but we can add the alteration inside if you want. So here what we will have, what do we do? We take the major scale and then lower the third, the sixth, and the seventh by half-step. The third is right here. We'll go down half sub c natural than here, neutral and then G-natural. So it will be the same result. A, B, C, D, E, Zhe. Okay, you see how I'm doing it? Let's take another example. If I want the D major, D minor, I mean, I want the D minor, the natural one. Be careful because we have other types that we'll learn in the next videos. The D minor. So we'll write the D major, E, F sharp, G, a, B, C-sharp. And then what do we do? We take the third, we lowered the sixth. This one, we lowered by one. And then here we lowered by a half. She may see the, you see how I'm doing it and now it's time for your challenge. Your challenge will be to write the C natural minor and the a flat natural minor using the techniques that you want, because we will arrive to the same result. So focus. Try to remember everything that we have done in this video. If you are struggling, just jewelry, watch it, and go to the challenge. So we'll start with the C natural minor. I will use the last technique that you are using right now, the C natural minor. C major, we write the C major, G, sorry, g. Then say, Okay, then we lower the third via. Can you help me? The sixth and the seventh. Okay. Let's remember it. We'd already the third, the sixth, the seventh. This is the C natural minor. Now, let's take another example for the A-flat minor, E-flat minor. So I'll write the A-Flat Major. It will be D. Okay? Because I remembered a lot. We have a flat major, so we have in the order of flats, A-Flat. So we take a flat plus one, okay? We have also the flats, okay? You see, I may make mistakes. So C, E, G, and then what we'll do, we'll lower the thirds. So it's the sixth, the seventh. So we'll have all the flats. So in the a flat natural minor, we have all the flats. Do you know why? Because it's relative minor and the relative major, I mean, so what is the relative major of the A-Flat? It is D, C, E flat major scale. C flat major scale. We have all of these flats. So you see how we are doing it. Now, this, everything you need to know about the natural minor scales. Let me know down below what is your favorite technique, and I will see you in the next video. Bye-bye. 44. Vid 8.3: The Harmonic minor.: Harmonic Minor. The harmonic minor is the other type of the minor scale. It's the same of the natural minor, but the seventh degree is raised by a half-step. For example, if I want the a harmonic minor, okay? What do I do? I write the a, the a natural. Okay? Then I raise the South by half. So this is one technique, okay? So it's that easy because if you know the natural minor before you will be easily, you'll be easily start putting the nodes of the harmonic minor. Now, there is another technique that I prefer also how to write the harmonic minor. We placed the notes, okay, if I want, for example, the D harmonic minor, so replaced the note of the scale. Okay, Let's play. What do we do? We add the key signature from the relative major. What is the relative major of D minor? It's the F major, so we have the B-flat, okay? It's the same than that, the natural minor. Okay, then what do we do? We raise the seventh degree by a half step. So that's it. You see all nudges and use this C-sharp right here, or the second-degree raised by half-step. So let's take another example. If I want the B minor, so start with B. We write the notes. Okay? Then what we do, we add the alteration of the relative major. What is the relative major of the B minor? It's the D major. So what we have on the D major is F-sharp and C-sharp, okay? So she started an abstract. We find them. The leading tone of the D major is the C-sharp. Then we start counting with the fat jolly, so Fc. And then here we raise the seventh degree by a half. Okay, You see it's that easy. Now it's time for a small challenge. Your challenge will be to write the scale of G sharp harmonic minor. So there's a little trick. And this scale, so just focus about it and go do it. So start by writing the scale normally, okay? Be careful for the pattern. Okay, then what we do is, let's see right here, we add the key signature from the relative major. What is the relative major of the G-sharp harmonic minor? It's the B major. So the B major has where's the B major? Can you help me be major? Yes. So if this then we already write it because if we do it like this, if you use the pattern or we use the key signature is the same. Okay, then what we do, we raise the seventh degree by half-step. So where are the seventh degree? F sharp? We raise it by a half step so it will be F double sharp, okay? For, for this streak right here, Let's hear it. Okay? So you see, it's not that hard to create the harmonic minor because it's beautiful to pay at the end. So the trick is that you will have F double sharp. 45. Vid 8.4: Melodic minor.: Now the melodic minor. So how to form the melodic minor? We'll start by creating a new file, melodic minor. Then we'll choose the treble clef, this one, and then we will make 15. Okay? Alright, 15 measures right here because we'll need more than single-page. So follow these steps to write this melodic minor. It's not that hard if we do it in a correct way. So how to form the melodic minor? First? We write the notes of the scale, ascending and descending. So if I want the a melodic minor, I wrote the a, ascending and descending. So it's a, then G. Okay, so it's ascending and descending. Then what do I do? I add the key signature. What is the key signature of the a minor? We find the relative major. So the C major, C major has nothing, right? So we don't have key signature right now. Then we raise the sixth, seventh degree by half. So where's the sixth and the seventh degree? 123456, This one than seven by half-step. This and the way up, be careful in the way up we raised them 67, then the way we returned to normal. So here, be careful if I played them like this will be F sharp, G, G sharp. So this is the G-sharp. You have to be careful to add a nasal symbol right here. So add this one. Then this one. Why? Because it affects, it may affect the whole measure if we add them right here, but we can just pay them and then return to the normal. You can remove them as well. But let's just add them for more security if we just wrote them in the same measure. So be careful. G natural nature. So these are the steps to create a melodic minor. Now let's see another example. If I want the email the minor, what do I do? First? I write the a, b, c, j. Then I add the key signature. What is the key signature? The G major? Yes. What are the G major? One sharp. Okay, then what do we do? Here? We can just remove this one, okay, just remove it as short. And then here, where's the other F sharp? Okay? All right, then what do we do? Let's return to here. We add the key signature, then we raise the sixth and the seventh degree by a half-step. Where does the 63123456 so than in the way downward turn to the normal. So here we'll have that nature, right? This one than this one. So this is all the idea of the melodic minor. We finished the whole thing about the monarchies. Hope you got the idea of these minor key is the introduction than the natural harmonic and melodic. Here we forgot to create a new file, just, I think that you do it on your own than the melodic minor. Hope you understood every single technique how to do them, because we can see them and music there are common to see the natural, the harmonic, the melody. So hope you are enjoying the course and let's continue in the next section to learn new things. See you. 46. Vid 9.1: Adding Dynamics Music.: Arriving to the dynamics. What are the dynamics? Let's see them for example, in this song. What dynamics will do to our music? Imagine if I'm playing your music like this. Dot-dot-dot. There's no power there, no live to my music. But imagine if I'm playing it with Dynamics. If I add the dynamics, how the music will be beautiful. But now we'll see the types of the dynamics. Let's open here. If you buy that, then we have this dynamic structure, okay? It will be like this. Sorry, like this, you open the Dynamics, okay? Now here, what do we have any dynamics? We have the piano. What piano means? I have prepared a slide for here, piano, it's soft, okay? So if I put piano right here, if I remove this one and then I will put piano, I select this one and puts piano. Okay. But if I play it like this with the fourth year, it will be, let's add the 40. For example, the app is 40. Okay, Let's play the F. It will be like this. Though. You see the difference. If I add the piano, it will be like this. Let's remove the 40 and add the piano. Affected. The piano. Okay, let's put it here. And what is MP? Mp is mezzo piano. Mezzo piano is not piano, and it's not 40. It's between them. We have mezzo piano and myths off 40 what as mezzo forte, it's more louder than the mezzo piano. So what we have to now, the piano itself, Let's share it, for example, the piano. Let's share the 40. Let's push ups. Some of the dynamics of we have tons of dynamics right here. We should remove them. Okay? Now let's add the, sorry. Okay. Now let's add, for example, I want the formula. Let's do it. Let's add, for example, let's remove this for the mezzo-forte will be more soft. Okay, you see how we're getting the dynamics. Now there's more, there is, for example, the pianissimo. The pianissimo is very soft. The piano is louder than the pianissimo. It's the piano is subpoena is thorugh, the mezzo forte is. The fourth is Tara. The fortissimo is, it's very loud. So let's try, for example, the fortissimo, sorry, the fortissimo like this. Another though, we can, we have more like 40 piano. Forte piano is loud and soft. If you want to try it. That's added for the piano. That's okay. It will not create that much different if we hear it. Just one measure. And then we have the sforzando. What is this, for example? It's like suddenly the beach will become four. You see here, there's an accident or this one. We can put this Ferdinando right here. Let's hear it. Why we don't have it, because we have the base. We have the base, this one. So let's add, for example, on the app lets you will see difference. Okay, It's not Isadora. There's an accent on this one. Ciao, I'm doing it. Then what do we have? We have this symbol right here, greater than or lower than. I'm not good at math. What does this symbol? It's the fortissimo. Okay, remember, then what do we have here? We have the middle can write here. Then we go to the fortissimo. Imagine if suddenly lets remove this one, for example. I cannot do it suddenly. What I do is put this symbol, what this symbol mean. The crescendo, it's getting like a little bit, a little bit more louder to arriving to the points. So I cannot have, for example, this one. If I have here, for example, the fourth, the fourth year, I cannot have here the fortissimo. Why? Because I cannot go from fortissimo to 40. It's not like getting more louder because the fortissimo as louder than the 40. Okay. Let's remove them. Let's hear it again. But we'll put, for example, here, I'll remove it and put the 40. Okay, here, I'll put the piano. But here, what do I want? Weights? The piano, okay, but here I want to get less louder, so I want the sound to be more soft. What do I do is remove the crescendo. I'll put something called decrescendo. Where the decrescendo, you search here and the lines and then here are, here's, the crescendo is like this. And then the decrescendo is like this. Okay, So what the decrescendo will do to our music, it will getting more soft edge will get more soft. So if I want to go from the 40, let's see if right now. Let's see how you want it like this. I wanted to get gently down. So what I do, I just select the measures. This one, this one weights. Just select here shifts than this one shifts and I put the decrescendo. Let's hear it. Until you see it will be better for us. So now let's do move this one, deletes. It's not deleting. Okay? So let's add here that's repeats with the channel, whereas the piano dynamics and then put the piano. And then here we'll put the formula for TCM for example. And let's, let's see how we are getting. What we will do right here is just put, for example, the crescendo. That's the lines before the bar lines. This one, this one, and this one, and then add the crescendo. Let's see how it will go over and out. We can add here, for example, this Ferdinando. Why? Because dadadadada row, row. Let's add it. Let's do it with this Fernando. Okay? Lets, you can add here also. We can add as much as your own dynamics. So here what we learned, we learned the kenny Seymour, it's very soft. Piano, mezzo, piano, mezzo forte, fortissimo. Before the piano, there's Farrah Zan though the crescendo, the diminuendo we call it, we can call it the meander. We can call a decrescendo. Depends. Call it like you want. So this is all you need to know about the dynamics and music. They are so easy. You should know them. I like to add more to make life during music because it will help us about later on in this course. 47. Vid 9.2: Use Tempo In The Songs!: Arriving to the tamper, what is a Tambo? A tempo tells us the speed of our music. So imagine we have no tempo while I'm speaking. Hi guys, How are you? I'm going to study in this course, we need to have something that will determine the speed of our music here, and the Beethoven symphony. Imagine we have imagined we have this row, row, row. You see, there's something here that determine the beat and it's right here. What is this note? Quarter note equal to 100s. What do I mean by that? Is that we have 100 beats per minute. So what is a beat? The beat is defined by quarter notes per minute. We have 100 beats, so it will be like every 1 second, we will have almost two beats or less than two beats. Than, than, than, than, than, than. Before. You see how I'm doing it. So here imagine I will put like 200. Let's see the speeds. You mentioned. I put it 12th. Let's see it. Let's put it let's put it on 70, okay? Okay. If I put six year, it will be like every bit will be 1 second. Why? Because we have 60 seconds in a minute. Why? It's slow. 3234. So this one tells us how to count the beats. But imagine, I don't have this one. There's something called The, other than the tempo. We have here like this. We have these symbols, right? So I have prepared this slide for you to see how we are going to do the land. What is Atlanta now, I don't want you to just memorize. The Orlando is 4060. The graph is like this. The other Jewish 6676. I don't want you to remember them. I want you to just the Orlando than the gravid or that Jordan, Dante, the Moderato, Allegro, the allegretto, the Allegro and the presto. So imagine I will put it like this. Press. Let's select everything and then put press. So, oops, I'll put press. So rights you okay, on this nodes for us. Let's see. Okay, So it's the same. If I put like 200 debit, I'll put the 200s. If I put like, let's remove that Presto and I will put allegretto, it will be slower than 341. You see how, you see how the beat, if I put like Lando, let's show the Atlanta. You see it, you'll be more slower. Here. Just remember, Lando, Adagio, Andante Moderato, Allegro allegretto, I mean Allegro than presto. Now we have much more, we have much more. We have like prestissimo, we have everything. But just, these are the essential dynamics that we will learn in this course. So make sure that you have understood everything. And I'll see you in the next video. Bye-bye. 48. Vid 9.3: All About Transposing Instrument...: Transposing musical instruments. What are these special instruments? Transposing instrument. It's an instrument that produce a higher or lower pitch that indicated and music and the music written off it. So for example, let's create a new file and name it, transposing. It's EBIT tricky here, so just focus with me instruments. Okay? Then we'll choose the treble clef signature. Okay, remember we are in the C major because the key signature, I want to just remember this one. So let's try it. For example, the C major scale, C, D, E, F, G, a, B, C. So this is the C major scale for the piano. The piano play this note. We'll see why, because it's not a transposing instruments. But let's see, it's right here. Let's right-click and then put stuff here. And I click on Change Instruments. You remember we are in the C major. The notes are C, D, E, F, G, a, B, C. And we are hearing them as C E, G, a B, E C. Here, we'll change the instrument to, for example, click on breaths, and then choose the horn and F. Now what is the horse? And the horse and f tells us when this hormone will play the note F will hear the note C. So if this warm play the note F will hear the notes here. So if this instrument plays like the note C, you will hear the note G. So to be able to let us hear the note, see this instrument has to play a lower pitch. Why? Because if you're plays a role here, see, so let's see if we put it on the horn and F, What will happen? Apply. Okay. We, we will be in the G-Major. Why? Because if this instrument play on the cheer, it will be G, a, B, C, will hear the notes. Here. You see how the transposing instruments works. So let's take another one, Control Z. Let's take, for example, the priorities. And then we'll choose, for example, the, this trumpets B flats from fat. So if this trumpet plays the note C will hear B-flat. So to be able to hear the note, see this trumpet has to play the notes D. Why? Because if she plays the notes, C will here be flat. So two here, C, it has to play the D. So we are here and the D major. This one, instrument plays and audio system works. We have so many transposing instrument, but will not like Saudi them all the time and how to play them and memorize them. I just want to give you a small idea about what are the transposing instrument. 49. Vid 10.1: WELCOME TO CADENCE!: Cadence is what our cadences and how to locate. A cadence is the end of a phrase in which the MALDI creates a sense of resolution. So for example, I got to have a cadence right here at this nodes. I cannot have. Here. It has to be at the end of a phrase. So in music we have many types of cadences that we'll learn in this section. We find the cadence through the degree of the chord. So we'll be saying, for example, if you are here and the C minor, so this is, this is the first chord. And then here we'll analyze the code. We'll see how to find this cadence, for example, will not be looking at a cadence right here because it's not the end of a phrase. I will be looking for a cadence right here. For example. Because it's the end of the phrase. I'll be looking, for example, right here at the ends, the lectures before the end of the phrase. So hope you are excited to learn everything about cadences. They are so beautiful to how to locate them in music and how to find them. See you in the next video where we're going to learn the first type of cadence. 50. Vid 10.2: PAC: Or perfect authentic cadence. How to format where we allocate. So we mentioned that a cadence is the end of the phrase. Now let's open a new file and name it back. Okay, perfect authentic cadence. Next treble clef. Then we'll go to the key signature. Here will need only like five measures. We don't need more. Okay, What is a perfect, authentic cadence? It is when we have the degree five of the chord, then the degree one. What do I mean by that? Imagine that we are in the C major right here. What is the degree five? It's the GBD. So this is the fifth degree. Let's add it. Okay? Then here we'll actually go to the first degree, C, E, G. So here the c, g is the degree one. Let's try that. Degree one. Let's share it. This is a perfect authentic cadence. For example. And some songs we may have like this, G, B, and here we have B, D, G, B, D. All the cord is the G, B, D. So it's the fifth degree. It does depend if we have like this, the app, then here we have the D, does not, it doesn't matter. Okay, so here I brought to you the Beethoven's Fifth Symphony that we have listened to it before. So now let's see where we have an end of a phrase. We mentioned that we have tried to here. So let's share here. Here we are in the C minor. Okay, let's see the codes. We have here. A, CEA, a, A-flat C. Nothing important here. What do we have? We have the fifth degree. So here let's try the fifth degree at the chords. Okay? You said like the cord than Roman numeral five. So this is the fifth degree. Now, is there any degree one? Let's share here. No. Okay. So it's only the fifth degree. I don't care about it. Now let's move to another end of a phrase, where here? Let's see here. Here we move to the E-flat major. Okay, if we see we have the chords E-Flat right here. So here it's a major one. We will study modulation later on in this course. So here and the E-flat major, what do we have? B flat, B flat. So it's B flat, D, F, a flat, so it's the fifth degree than the fifth degree. Then we have here the E-flat chord. So it's the first degree. The first-degree is here. So here we have 51. So this is the perfect authentic cadence. So we see it so many times in music, this is the most common cadence that we will see in music. You can just look at a piece of sheet music and just look at the hand at the end. We surely have this one, or we have many types of other types of cadence that we'll study in the next video. 51. Vid 10.3: HAC: We learned the stack and now it's time for the hack h, c. So let's open a new file and name it. Hack. Hack is the half authentic cadence will study at right now. So how do we know the half authentic cadence? We have? Authentic cadence is when we have, of course at the end of the phrase, only the chord five. So if I'm in the C major, we should have only the G. Okay, so like this about at the end of the phrase. So let's see here. And they, Beethoven's Fifth Symphony. Where do we have it? Right here? So that's yours from suddenly like this. We have this score at the end of the phrase. So we name it the perfect. Let's put it right here. Perfect authentic cadence. This is the example of the perfect authentic cadence. We see it many times. It's also common to see it and music. So let's make some exercises. Fim, for example. And the key of, let's choose a key frame here. D major. Can you form a hike? So D major, I need to form it from D, E, F sharp, G, a, so it will be suddenly the a, C. Okay? So like this. Let's show us one more time to see the difference. Perfect authentic cadence. So it's easy to know. It just differs from the perfect authentic cadence that the PAC has the degree, one after the chord degree, but the heck doesn't have it. So this is all the difference. 52. Vid 10.4: Imperfect Cadence.: Imperfect cadence. What is this cadence? Let's open a new file and name it in perfect cadence than treble clef. Next, next. The imperfect cadence. Let's do a small revision before the perfect bag is when we have, for example, five than one. But all the chords are at the root position, right? But what if I have one code that isn't at the root position? For example, this one will be E, G, C, like this. Okay, sorry, it will be e. This is an imperfect, authentic cadence. Why do we have it? Because it's a perfect cadence. But one code is not ideal position as, as one of the inversions, it doesn't matter first, second, third. So this is the type of the imperfect authentic cadence. Now we also have the imperfect half cadence. So for example, if I have the G, B, D, G, and B, d like this, but we don't have the G and the roots. This is perfect half cadence. So the Beethoven Fifth Symphony, we can, for example, transform this cadence and perfect one. So we just remove these, these nodes. Or we can put, for example, the b at the base. Log this on this year, the BIA, okay? It will be an imperfect half cadence. And also at the end. Let's try it like this. Here. We can just remove the ear and we can write the gene. The gene. Okay, it will be an imperfect, authentic cadence. We can also write in the five. So we need to have only one chord. That is, that isn't absolute position. We can have them both, but we can also have one. So this is all you need to know about the imperfect cadence. 53. Vid 10.5: Plagal Cadence: Lego cadence, let's open a new file name. It's plagal cadence. How to know the plagal cadence? Let's see, it's right here. Next, next. Finish. Okay? The plagal cadence is like the perfect authentic cadence, but instead of having the 51 we have for that one, okay, For than one. So here we are in the C major. We have the degree four, so it's a, C, C, G. Okay, let's take another example. So if I am in the weights, so in this one, This can tell me it's the imager, right? Image or the four is E, F sharp, G, a, D4 is a sharp, a sharp, E sharp, It's also C-sharp. Then we have the root is G sharp, B. So this is easy to have the plagal cadence. It's not that common in music as much as the bag, the hack, the imperfect cadence, but we usually can't see it while you are forming songs or seeing sheet music. 54. Vid 10.6: Deceptive Cadence: The last type of cadences, and it's the deceptive cadence. Let's create a new file and name it. Deceptive cadence, deceptive cadence. And then treble clef, your signature. We need, we need them. Okay, then. So what is a deceptive cadence? Deceptive cadence is when the dominant chord is followed by a cord other than the tonic, usually the six chord, but sometimes it's something else. So if I'm in the C major, It's the dominant chords like this, followed by another code other than the CBG. Why it's not CGI, because here we will have a pack. I need a deceptive cadence, so it can probably be the second most Gates's major or we can be minor, it doesn't matter. So this is a deceptive cadence or it can go to, for example, do you see how we can do it? And now I'll give you a quick challenge. And your challenge will be to think about three options of the deceptive cadence and the key of a major. So pause the video and go to the challenge. Okay, welcome back. Now let's see the a major. So in the image where we have the, this one, okay? A major. So five, a, B, C, D, E, G, B phi than the six. Okay? This is the first one, the deceptive cadence. We can have five than two. So it's the beer. D. Sure. And we can have, for example five. Then I don't know, seven. You want seven? So we are, and the a, it's the, so the last type of cadences. Hope you enjoyed this section where we learn the cadences, everything we have learned before, the pack, the heck, the imperfect cadence, the plug-in for one than the deceptive 5 sixth. Be careful. It cannot be 51. Why? Because we will have a perfect authentic cadence. So hope you enjoyed this lecture and I'll see you at the next one where we are going to study something new. 55. Vid 11.1: NCT INTRO!: Welcome back my fellow music theory students. So in this new section we are going to study something called the N, c, d, The non-chord tones. So what are these nodes? They are strange to the key. They are out of the family. We should know them. So for example, if I'm in the C major, I have the G sharp. This is a non-chord tone. Why? Because the C major, I can't have the G-sharp because C major, C, D, E, F, G, a, B, C. I don't have this strange notes, so we call it and CT. We have many types of them. We have the passing tone, the neighbor, the double neighbor, the appoggiatura. They escaped on the anticipation, the pedal point expansion, the retardation. We'll study all of them in this section. I hope you are excited to learn everything about them. I'll see you in the next video where we are going to start learning the first time. See you. 56. Vid 11.2: Passing Tones.: So for the first type of NCT will study the passing tone. What is the passing tone? Let's create a new file and name it like this. Treble clef, key signature. Okay? What is the passing tone? The passing tone. It's a bridge between two nodes. For example, if I have denote a, okay? Then here the note C. I want to go from a to C. Let's do it. So what do we do here? We create a bridge between these two notes. So it will be a, B, C. You see, this is the passing tone. Now we could have it like in code. So for example, if I have C chords than I have here, for example, the a chord, a, C. What can I do is place, for example, the chord, okay? B. Okay, So it will not be diminished. Or I can play it like this. That's a major one. It's a passing. Okay? So it's like a bridge. Now, usually we see it, for example, between the notes. If I want to go from G to B, okay, what I do here displays the a, okay? Sorry, The a, b. Now we can see it, for example, between a couple of notes. So it's not mandatory to have, it's like between only two nodes. So I can have G, a, B, C, D. So the chord is G. The a and C, R2 passing tone between these two notes, three notes. I mean, this is all you need to know about the passing tones. 57. Vid 11.3: Neighbor + Double Neighbor.: Now the neighbor, what is a neighbor tone? Let's create a new file and name it. Neighbour. And double neighbor will study the double neighbor. Double neighbor than the truth, the treble clef, this and this. Okay, so what is a neighbor and double neighbor? Neighbor is when we move away from a notes by step, then return to this node. So for example, if I have this note, I have Jia than, I will go to a than to the gene. Okay? This is called an upper neighbor. Why? Because I'm moving up to G. G. So for example, I can have it like this. If I have with quarter notes, will be G. G. So give us a design for a song. I can have a lower neighbor like this. Okay, so I can have, for example, the door neighbor. What is the double neighbor is, for example, when I have G, B. So this a group of neighbors one upper and lower. Now there's something called incomplete neighbor. Want to have, for example, a day. Okay? So it's an incomplete neighbor. Why? Because we can have, we don't have like GAG this incomplete neighbor. Okay? What you have to now we have the neighbor, the double neighbor, and then the incomplete table. Let's take another example for the lower neighbor. If I want a lower neighbor. So this is all you need to know about neighbor tones. They are not that hard. We have the neighbor, the double neighbor, and the incomplete neighbor will see it in music while analyzing in the next section. So just focus with me till the end of this section so we can learn everything about the NCT. 58. Vid 11.4: Appogiatura.: We talked about the neighbor and the double neighbor tones. Now it's time for the new entity and it's the appoggiatura. I have prepared this file for you. So what does an appoggiatura? It's approached by the seventh degree, then it's usually accented on the beat. So let's see here, let's do it. So this is accented beats. So this is the idea of the appoggiatura. Now let's do another one. So here we have it before the bees. So this one, the F, this one, the blue one is the appoggiatura. Let's do a small revision about then. Okay, so we have two types. We can have it on the strong beat directly or we can have prepared. Before. You see this is all you need to know about the appoggiatura. It's not that hard. 59. Vid 11.5: Escape Tone.: Now it's time for the escape tone. I have created a new file. So what is the escape? Don't, it's easy. We just add this note escapes the tone. So if I'm here, let's share it. Here. It's like the incomplete neighbor. It's similar to it. But we can have, for example, like, look a lot like the incomplete neighbor. But it's like you see that it's out. It's out of the beats. It's out. Now let's see another example right here. What is this no charge to you? So what is this now doing? It's an escape tone. Let's do it one more time. So this is the idea of escape tone. It's out of the tone, it's going out. And this is the idea of NCT. They are out of the family, right? 60. Vid 11.6: Anticipation.: We learned the escape. Don't like this. So now we are going to learn the anticipation this a new and CT. So what is anticipation? It prepares us to the initial cord. So that's this one. Let's try to hear the E is the anticipation. Let's, for example, create another one. If I R1, then here BIA, okay, then going to the, it can be the same note. You see, usually it's the same nodes than I can. I can create like a complete neighborhood here. Let's divide that by two. And then the rod, then here the C code. Okay, let's hear it. So here we have two non-chord tones. We have this one, the incomplete neighbor. Then here we have the anticipation. Then you are going to the tonic to the code. So let's hear it again here, how it prepares us. It's not mandatory to have record, okay? Okay, then here what we will have, you see how this course prepares us. Now, it's not mandatory to have the non-chord tones. There are the sounds weird or something like that. You have probably thought at the beginning of this section that non-chord tones are strange and they sounds like this. For example, if I have here, we have like this, like this. Okay, so it's not mandatory to have them like this. They are like out of the family. Because for example, if I am the G-Major, I cannot have like the C-Sharp or something like that. I will not go that deep into non-chord tones because this is like a small idea. If I'm in a piece of music and I want to see what is going on with the NCT. 61. Vid 11.7: Pedal Point.: It's time for the paddock points. It's not that hard. It's just like holding the paddle and the piano because you know, the piano, there's like you're on your feet. You can play with your feet. The paddle, it's like just holding something like a bar. I don't know if you have played before piano. So that's shared, for example, it's not that good. So it's like holding a note all over around. It's not that hard to have. Let's create, for example, a paddle points with denotes. Okay? Then we will come together, put a tie. Okay? Then let's start creating a melody with them. Then than here. Okay? Then I will go to the, let's see it. So here we have this paddle points. So every time you see a note like holding it all over around, we call it the paddle points, and it's non-chord tone also. 62. Vid 11.8: Suspension.: Now we'll study this suspension. So let's just copy these notes. Okay. I'll copy them. You can do it on your own. Then I'll create a new file and name it suspension. Than travel. Grants staff choose Grant's staff because we need this. And then this one will need around ten measures, okay, let's paste them right here. Okay? So the suspension is the same idea of the paddle points, but we have a resolution. So the suspensions prepares us like to go to your notes right now to denote let's say the notes. Okay, so, so in this case, this is the preparation. This nodes prepares us to the suspension. This is a suspension and this is the resolution. Now here we can have, for example, a couple of notes. Let's put them G, a, B, okay, and here we'll have a suspension. So it's the same of the pedal points right here, but the difference is the Palo point is just holding for nothing. Here. We are holding for the resolution. 63. Vid 11.9: Retardation.: Now it's time for the last type of the CT and it's the retardation. What is a retardation? It's like the name S3 towards the cord to arrive. So let's do this here. Imagine before this nodes, I will divide it by two instead of resolving to the note C. Right now, I want to denote, for example, I put the chord. That is also, okay. So this is a retardation right here. Why? Because it retards our code, our resolution, the rah, rah, rah, rah, rah, rah, rah, rah. But when we put the retardations will be third row. So you see this note right here. We can say that for example, this is a neighbor, the upper neighbor, or we can say that the cord is a retardation. This, everything you need to know about the NCT will learn everything was sorted by the passing down the neighbor tone. Now, double neighbor and incomplete neighbor, appoggiatura, escape tone and see patients paddle points, suspension and now the retardation. So hope you enjoyed this mini section because I don't want you to go that deep into NCT. We don't need a PhD degree and the NCD just, I gave you like a small idea about them and how to locate them into music. Now when you see, for example, the pedal point, you will know that this is the ansi D, the suspension, the retardation. So hope you have enjoyed this section. And in the next section, we are going to learn something new. 64. Vid 12.1: Modulation Explanation!: Now let's look at everything we have learned in this course. We have started with the sight-reading, the intervals third major, third minor triads than minor than in the previous section, we learned the non-chord tones. Now we'll study something else, something special, and it's called the modulation. What is a modulation? Modulation is when the composer goes to another key. So imagine this song. The song just listened. So now let's look at the key signature. For example, here, what do we have? We have B, E, a, D, So we are here and the a flat major or F minor. But the first chord is F, c, F. So the F minor probably, yes. And now here, what do we have? We have four sharps, F, C, G, D. So we are in the imager or C sharp minor. But the beginning of the song, if we can see, wait, let me put the beginning of the song. Everyone knows that this is the Titanic sunk. My heart would goes on. We'll go on. Here. We have the first chord is C sharp, G sharp, C sharp. So we are in the C-sharp Minor. We were in the C-sharp minor. Then we went to the what is this key to the half-mile, this called the modulation. Let's hear it again from mine. Okay, so how about we have presented some risks. Okay? So this is the idea of the modulation. You see, we can see its main times and music, how to model it. I will not go that deep into modulation and the scores because I just want to give you like a small idea about it, a general idea. So you can know if you saw any piece of music, if the key signature change, don't be like what happened, okay, So this is all you need to know about the modulation. 65. Vid 12.2: SONG ANALYSIS: Now we are going to do a full song analysis. So let's hear the song. You probably know it before someone like you for Adele, that's yours. So now let's see, for example right here. First, let's locate, let's know the key signature. What is the key signature? It's the a major, right? Why? Because at the beginning of the song, first we have the key signature of weight. Let me go back. Let me go back. Okay, We have here the key signature, three sharps, F, C, G. So a major, or F sharp minor. But here the first chord is a, C-sharp, E. Let's see here, it's arpeggiated. So the key here is the a major. Now let's see what our model is doing right now. G-sharp, C-sharp, E. So it's the C-Sharp chord. So we are here and the chord number three, okay, than half. So we are in this 66 minor. Minor. Yes, Why? Because then we went to the D chord, the major award. And then for example, here we have the, what is this stress right here? Is the quarter rest, the 16th rest, the eighth rest. Then what do we have? Another thing? The short side here, we are selling the imager. There's no modulation. We don't have, we have the decrescendo, for example, mezzo-forte. The time signature is four over four, so one does not know that. And then another data. Then here what we have something interesting. We can see cores, we can analyse everything. I'll not go that in details because this course is not for songs analysis. But we can see for example, here we have piano. He will have the written dot-dot, dot-dot, dot-dot, dot-dot, dot-dot, dot-dot. This is a rhythm, but we didn't went into the system in this course because it's like for sulfate Show More. And then here we have some 16th notes. So you see, I'm going to everything we have learned in this course. We have 24, we change the time signature. We don't have that modulation right here. We can just look at the codes. Let's listen to the end of the song. She was the last score. It CEA, so we ended and the a major. So this everything you need to know about sound analysis. 66. Vid 13.1: Putting The Bass.: So here we are at the last part of our course. And it's the bonus section. And the bonus section, we are going to create our own music. This music theory course. I'm so thankful that you arrived to this point. We have done everything in music theory and now I'll give you like a bonus section to help you improve your composition and give you a small idea about music composition, music writing. So it'd be able to like, finish this course in a funny and interactive way. So first let's create a new file and name it, putting the quotes. Because when we want to create in music, you have first thing to create. The courts will choose the grand staff, Okay, Why? Because Andy Grant's staff will need chords and the melody so we can insert in the bass clef, the chords and the G clef, the malady. The next, choose the key signature of C Major, okay, for this course, I'll not go that deep into music composition. I'll do another course about it. So then let's continue with the C major. Here. Let's put, for example, let's put it on time for now and I click on Finish. Okay, so here we have our music. So let's say material. Let's save the file. My own music. Okay, So after naming this file, I want you just to create chords and the left hand. So as we know, the C major scale, we have the first-quarter that is C, E, G, Okay? Then the last chord is also C, E G. Okay, now, for this section, for this lecture, Let's just put the course like the C-E-G. Then we'll design them, create like C, G, E, T g of n. Repeating them all over the rounds. Here will create like this one. Okay? Now, there's one thing I need to make sure that you have understood it, that this is my own opinion and creating music. So when you create music, it might be different, so don't worry, but I'll give you my own technique and then you can develop it on your own. Let me know down below how your music will sound like. So I'll put here one. Here, I'll put the one. Okay, So here, what we learned so far in this course, remember the course progression 1645? So let's try to use it and this music, Let's try to use the 1645, but we are going to learn like will not just put 16451645. Let's just make the course better for this lecture. Output. For example, here, the ACT one sex than four. The five, the G, B, D, D. Let's do it. Okay. Then I'll repeat it our time, like putting here the F, okay, that sticks to the course for this lecture than the cheer. Okay, Sorry. Are you with me tried to create the music while I'm creating it than we have. For example, let's put the a minor. Okay, I want to create a perfect cadence, so let's just reserve this place for the 55, whereas the five G, That's great. Okay. Then here, let's put, for example, the 44. It's a sequence that's sure our song. So be careful, there's something wrong here. Why? Because I placed the G, B, D, F sharp. I want the dominant seven, so it will be, be careful how I compose my own music. This is how I add the courts. Now, you can design it in another way. You can like add this one, can make it. Let's divide it into two. Divides into two. Then add another time. Here. I want to add the address. Okay? Then where's the rest? We can divide into two like this. Okay? So it will be, remove it like this. Then here we have. Then on this chord I can put, for example, remove it and this, let's divide it into these. And then here, Let's put the shoe like this. 12. Okay, then I can have this. And so you can play whatever you want with your own music. You see this is the general idea of music composition. In the next lecture, we are going to add the melody right here to see how will our own music sounds like. So hope you got the idea of how we create the bass notes, the course. And then let's move on to the next lecture. 67. Vid 13.2: Adding The Melodie.: So now we are going to create our melody. So what is MOD is it's at the right hand. Let's start putting, for example, we have here is a C code. So there's some rules for creating melodies. I cannot happen in the C code, for example, the MALDI abstract, because that's what is this code. You have to create a beautiful melody. So for example, I can add, let's add the basic S1, like C, D, E, F. Let's do it. Here we have the ACE chord, so it's a minor chord, a minor. We can add, for example, the arpeggio of a minor like this. What is the arpeggio? Aac ear. So it's like this, sorry, a. And then we can add the C. C. Let's sure it's here on the FAC. We can add, for example. Now, what do you want us to add? We can add like eighth notes, like a C. And then going up through the app and then I can add them out. Is that you want than arresting at the CEA. Okay, that's your melody from the beginning. Here, I need the nodes, for example, between the C. Here I will put the GP. So what's called malady, do I need to have the GBD? I can have, for example, shear here, okay? Then D and B right here. Rusts, right? You can have less than two. We can have CC, CC and then the C. Okay? So here we have to change. So we can add like a passing tone right here or right here. Sorry. We can add right here a passing. That is great. It like this. No Discord. I want it like this. Okay. Now we can add right here between the right to you. Sorry. We can add the F sharp. Okay. Like this notes. Okay, but let's remove these notes. Let's add only discord. The GBD are like this. Okay, are you with me? She'll be this beautiful now right here. We can also add, so let's put this one like this. Like this. Notes changed them. Okay, then g to the a, I can add a passing tone like for example, Jia, let's put a quarter notes, Jia, G-flat, sharp, I mean, so let's do it. Then here, from a to F, we can add, for example, let's put them three. Okay? Not gonna add. Can you help me? Denote t? We can add, for example, the chord. Okay, then to the cheek or dry to you. Okay, so let's share the song from the beginning. Again. So let's continue adding them. Malady. What do we have here? Let's add, for example, here we have FAC, CFA, then we can add the a, okay? Then let's share it. Okay, So let's show this one. And I've short. It's a nice, nice notes, but not that much. So let's remove the app from here. We can just leave it the abstract right here. Here we can, we can add this one and then prepare the notes here. So it will be, Let's click here. It will be gigi. Gigi. Then add the note C or C, a G major chord. You can feel it, you see how I'm doing it than a C. Note whatnot going to add here. For example, the notes. I can add the arpeggio off. Let's see here. Be sure. Okay, So that should then here see EGL. Okay, then adding the notes, adding a C code like this. Okay? We still have right here what nodes can add. Oh, sorry. F, a, C whatnot going to add here. So I can add like it goes down than repeating the octave than C. C, that's your. So we can add like this to support our code right here. That's okay. So let's start from the beginning. Let's see what we still have to fill in right here. We can add between the D and C. You can add, for example, the deal. If it's good. Yes. Okay, let's share our song from the beginning. Okay, so you see an only seven minutes. We did. We create our own songs. Now, in the next video, I will just make sure that everything is fine. Let's add something good that at power to music so we can add our section in a good way. I hope you understood how we add the melody and I'll repeat it again. It depends on your choice. You may be not here, okay, Here you ought to add the notes, D, for example. It depends on your choice. 68. VID 13.3: MIXING POWER + MUSIC!: And now we arrive to the last part of our course. It's adding more power, adding life to our music. Now, let's share our song from the beginning and see. So this is our song. Now, if I want to play it like in make the music butter, we learned that we have dynamics, right? So for example, let's start here putting that at first, the pilots, pilots, and then dynamics. Where are the dynamics? Let's add the tamper. Okay. Let's make it land to land, like from your selected Atlanta. Okay? Okay, you have to select one node. Be careful, don't take the whole measure. And then Atlanta, let's do it. Then here. Let's keep it at all until here to the a. And then here starts to be faster, which will be allegretto. Here we can add it like press Okay, Let's add right here to see what it will do. Okay? Then here, let's add the allegretto, okay, but usually in music we don't use them like this. Not in two lines will change three times the beats, the speed, the Tambo. But let's add more power to music that's unique. We are done with the tempo. Now let's add some dynamics. The dynamics right here. Hero starts usually at the beginning of a sound booth, sort by piano or pianissimo don't start like fort at the beginning. That's shear it. No, not the whole measure. The OneNote. Onenote only. And add. For example, I guess that's, you know, I don't like Atlanta, okay, That's stream of lambda because it would be so boring if you're Atlanta. Let's keep it at, for example, Allegra allegretto. Okay, now, we'll start with Janet, you see will not start to ask for today. We'll start with the where's the dynamics? Dynamics, okay, we'll start with piano, That's yours. Okay, now here, for example, we can add a kind of a crescendo to arrive to this measure and add it. Let's add the crescendo. You add it from lines. And then you put this one crescendo. That's yurts. It doesn't matter. Nothing happens. Why? Because we didn't add a dynamic, tried to here. So we have to add some, something like the mezzo forte. So let's share how it will go. Okay, then here we can add R31. So the, we can, I want the, on the press, so I want it for them. So I can add here. Let's add a crescendo to arrive to the folder right here. Let's hear it from this measure. Because here we have to add it to arrive to this measure. We have to select this measure, this measure. And then here at the horizontal search will add the effects that I thought all I want to add, What is the thing that add an accent that a thought or Zander right here. Let's repeat it. And also, also a sforzando, okay? And here, here also at the beginning. Okay, so here we add everything. Now I want to add another dynamic criteria. We can add like for example, a decrescendo right here. Let's add the decrescendo like this. So here we were at 40. So we have to go down to mezzo-forte right here, or mezzo piano, it doesn't matter. Let's add mezzo piano. Okay. Here we'll add a sudden, suddenly the forte fortissimo to F. So it will be fortissimo. Let's repeat our song from the beginning to see how it sounds. Okay, so this is how we did our own song. This is part of music writing on MuseScore. I'll do another course later on to see everything about how we'll do the music composition. So hope you enjoyed the session, this bonus section about everything, how we create our own melody. We don't need that much time to create our own melody. It depends on your choice, okay, so maybe here you want it to end at the piano. You just change it. Click, Delete, select the note, and then piano, you want to add like this. So that's okay. What? I usually like it, like fortissimo at the end or this one that's here is first. And also, I like as f, f, f, this is a dose for Xander. Okay, So let's, let's hear it. You can surprise the public at the end. Okay, So this is everything you need to know about music writing and create your own music on music school.