Lessons
Class Overview
01:51 2The Piano Roll Editor
06:16 3Octaves
10:01 4Using Octaves
06:13 5The Black Keys (not the band)
07:55 6Finding C and Middle C
06:08 7Section 1 Summary
03:40 8The Perfect Fifth
06:06Finding Fifths
05:25 10Being "In Key"
05:00 11The Pattern of a Key
06:53 12Fifth Examples
08:52 13Moveable Patterns
05:20 14The Major and Minor Third
04:28 15Building Triads
12:32 16Chord Progressions
05:47 17What is Diatonic?
04:16 18Finding All The Chords
09:10 19Roman Numerals
05:02 20Example Song Analysis No. 1
09:58 21Inversions
08:22 227th Chords - Overview
04:25 23Diatonic 7th Chords
02:02 24Maj7 (Major 7) Example
08:26 25Dominant 7th Chords
06:11 26Blues and the 7th Chord
02:20 27The Fourth
06:45 28The Second
04:37 29The Sixth
01:58 30Song Analysis No. 2
15:54 31Wrap Up
02:32Lesson Info
Dominant 7th Chords
So let's talk about this dominant seventh chord a little bit, the one that we abbreviate by just using the number seven. But this is another one of those tendency cords and this kind of the same one, I believe. Earlier I talked about attendance record really quick and in passing, being this five core, having a push back to the one chord. And it's one of those cases where ah, core progression wants to feel a certain way. It wants to go home in a way. And that 57 chord wants to go home more than anything else we've got. So let me show you an example. It's get rid of these. Thats use tonic, chord, a 57 chord and let's reverse him, actually. Okay, so now I've got 51 I just want you to hear this and feel how when we hear this 57 chord and then we go to a tonic triad, it just feels like this Cord wants to go to that court, so just listen. So this is a very important concept. That 57 chord wants to go to the tonic chord because we like these relationships of fifths That's a sound we like. And...
that seventh corps adding the seventh to that five chord makes it even stronger without it. It still has a feeling of wanting to go to the one chord. But when we add that seventh, it really wants to go back to the one chord because that's its resolution So more on this later. But basically what a resolution is is it is where Accord wants to go. So this cord wants to go toe one. No other chords in our diatonic progression want have such a strong resolution as this. There's an old story that, um, Mozarts dad used to wake him up in the morning by doing this. By doing this, he would just play a whole bunch of 57 chords, and then he would not resolve them. He would not play the next tonic chord, right, which feel, and then Mozart would run downstairs and play the tonic chord so that this is how this is what he would do. And then Mozart would run downstairs and go because it just feels like that has to be done right. That is a resolution. It's a feeling of that's got to come next. Now that doesn't mean you always have to do that by any means. That means that that's what's expected. Um, if you're working completely in a key, that's what's expected. Ah, but you don't have to do that. Ah, you can change things up. You can throw a curveball in there, and that's what makes interesting music. But you should know that's what is expected. That cord, that 57 chord wants to go to that one chord like nobody's business. Now, we have a very strong history of this. You've probably heard a 1,000, different. Well, maybe not a 1,000,000. But you've probably heard some kind of orchestra thing before where the ending felt really drawn out where I was just going like, bum bum, bum, bum, bum, bum bum forever. And it just felt like, Okay, when are they gonna end it? Um, what they were doing there was alternating between 57 chords and one cords going 51515 1515 They do that forever. Um, that's how you end a big our long symphony is you just alternate between 51 over and over and over and over. And that gives you that sound. Ah, let me show you an example. Here. Um, I didn't want to play any classical music in this in this class, but ah, I just can't resist right here. So let's Let's let me show you some Beethoven here and I'm going to write on the screen all the five ones. Ah!
Ratings and Reviews
exoslime
this is great and very helpfull class, i make and wirte music for more than 2 decades and never gave much about theory, i trusted my feelings to what sound good and what not. Bu t recently i became interested but it all seemed very difficult to me and i didnt got the points behind music theory and how everyhing works together. This class was a game changer for me.. music theory is so simple if you have somebody to explain it in words so that you finally can understand it, and thats Anthony, he is a brilliant guy and he explains it in a simple way that you can easily understand whats going on. This is perfectly the case with this course, the sections are short and to the point, not much talking around and leaving the path, you can make fast progress end learn how music theory works, this is a 5 Star ***** course and hopefully there is more to come
Emane Filali
Fabulous course. As a person with dyslexia, trying to remember the notes and chords as letters only is impossible. I love the visual way the chords are demonstrated and explained. I was originally put off by the "electronic" aspect, thinking it was only for learning how to use piano edit roller. However, as a beginner in playing the piano, this course is applicable to all who want to learn and understand music theory in an interesting visual way. Looking forward to next lesson. Will definately be purchasing the course after. Fantastic tutor and course.
Giulio Lazaretti
Very good class!! Makes it much easier to understand and apply the rules of theory. Anthony is also very wise to suggest to trust your ears, even if what you've written doesn't fit into those same rules. I am so very grateful for you putting this together, Anthony, and for making it available for the general public, Creative Live. I am also very glad I was given the opportunity to learn english in my home country (Brazil), in which many barely know how to read and write in our own native language (portuguese) due to our public education being so bad (which, by its turn, has to do with the myriad of vile creatures that inhabit our representative chambers). Tks XoXo!