AP MUSIC THEORY – Lesson 1: Advanced Music Theory – Keys, Scales, Intervals

 

Declan Plummer

Published on May 11, 2015

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Check out my Website where you can find handouts and other videos about basic music theory and much more! http://www.declanplummer.net Table of Contents Intro: 0:00 Sharp Rule Without Key Signature: 1:08 Sharp Rule With Key Signature: 4:47 Flat Rule Without Key Signature: 7:08 Flat Rule With Key Signature: 10:15 Minor Key Signature: 12:30 Examples: 15:39 Scale Degrees: 21:28 Harmonic & Melodic Minor Scales: 26:04 Interval Definition & Types of Intervals: 30:55 Calculating Intervals: 36:12 Chromatic Intervals: 40:08 Compound Intervals: 47:41 Conclusion: 50:05

 

Music Foundations Tutorial Pt 4 – Theory Basics: How to Compose a Strong Melody w/ Max Wild

Dubspot

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In part four of our ongoing Music Foundations video tutorial series, Dubspot instructor Max Wild demonstrates how to compose a strong and catchy melody using Avicii’s “Levels” as an example. If you missed the previous tutorials in this series, check out part one (http://youtu.be/GBeO1uxj5dY), part two (http://bit.ly/17STCRI), and part three (http://youtu.be/OXIv34DlWmA).

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Writing a melody that sounds unique and memorable isn’t always easy, but there are a few steps you can take to make this process go smoother. I will be using four bars of Avicii’s “Levels” as an example. In my opinion (regardless of whether you are a fan of Avicii) this song has a very strong and catchy melody. When analyzing great melodies it seems that these all share certain characteristics. All strong melodies seem to have:

Pitches taken from a particular scale: Shape Rhythm Repetition Call and response

Upon analyzing the pitches Avicii uses, it seems that they make up a five-note scale called the pentatonic scale, in this case the E major pentatonic scale. The major pentatonic scale is a five note scale, which uses notes 1, 2, 3, 5, and 6 of the major scale. The pentatonic scale has been used in music cultures all over the world and has a strong sound that we are all used to hearing, which is why it is a great scale to compose melodies with. Next we look at the shape of the melody, meaning do the pitches go up or down. We see that Avicii’s melody stays around the root ‘E’, it then jumps up to C# and plays the pentatonic scale downwards note by note back to E. (The only exception is the D#, which is taken from the E major scale.) For rhythm this melody primarily uses eighth notes, which propel the melody forward and keep it moving. There are several accounts of repetition: First of all the note E is repeated several times in bars 1 and 3. In addition, bars 2 and 4 are identical, and bars 1 and 3 are also almost identical. This brings us to call and response, in which repetition plays an important part. Bar 1 can be seen as the first ‘call’ or ‘question’, with bar 2 as the ‘response’ or ‘answer’. Bar 3 then ‘asks’ the same ‘question’ with a slight variation, and bar 4 represents the same response as bar 2.

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Scale Practice Tip #1 – Accenting Different Notes

Noah Kellman

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In this music lesson, ComposerOnline demonstrates how to modulate to closely related keys, i.e. keys with no more than one sharp or flat difference in the Key Signature. This technique allows a composition to break away from the relative monotony of a single tonal center.

Modulation examples:

3:40 – C major to A minor
4:43 – C major to G major
5:29 – C major to E minor
6:19 – C major to F major
7:11 – C major to D minor

Scale Practice Tip – Accenting Different Notes

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Noah Kellman

4 Types of Minor Scale

jazztutorial

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Download my Jazz Theory eBook at:
http://www.JazzHeroBooks.com

Watch EPISODE 1 of my Ear Training course:
http://www.TheMusicalEar.com/Episode-…

Full details of my Ear Training course at:
http://www.TheMusicalEar.com

LESSON NOTES:
C Natural minor = C D Eb F G Ab Bb
Characteristic chords = C minor, F minor, G minor (i iv v)
Sounds standard / normal – used often in modern music, pop music, etc.

C Harmonic minor = C D Eb F G Ab B
Characteristic chords = C minor, G major, (i and V) with use of F minor and Ab major (iv and VI).
Used in early classical music (Beethoven etc), Cuban jazz music, and modern day pop songs that are trying to emulate a classical sound (like ‘Survivor’ by Destiny’s Child).
Sounds serious, classical, and slightly fancy.

C melodic minor = C D Eb F G A B
Characteristic chords = C minor 6 (C Eb G A), or C minor major 7 (C Eb G B).
Sounds old fashioned (40’s – 50’s), featured in film noir soundtracks like Hitchcock’s ‘Vertigo’ – composed by Bernard Herrmann.
Sounds classy, relaxing, perfect for a sunny afternoon.

C dorian scale = C D Eb F G A Bb
Characteristic chords = C minor, F major, (i and IV) and sometimes D minor too (ii).
Sounds dark but hopeful – C minor is the dark sound, F major is the hopeful sound.
Musical references: ‘Earth Song’ by Michael Jackson, ‘Mad World’ by Gary Jules, ‘Another Brick in the Wall’ by Pink Floyd.

Beginner Saxophone Lesson – Major Scales Introduction

AP Music Theory – SEVEN modes, scales, figured bass, keys, intervals

whsaptheory

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This video talks about all the unique relationships in Music Theory to the number 7.
Produced for WHS AP Music Theory http://goo.gl/vr5mA
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AP Music Theory – Solfege application – Scales, Chromaticism

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Altered Scale Shortcut – Jazz Tutorial

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A deleted scene from my last video (exotic dominant 7 scales). In this one I show you the simplest way to play the altered scale with minimal brain work.

AP Music Theory – Solfege, Scales, Chromaticism

whsaptheory

Produced for WHS AP Music Theory http://goo.gl/vr5mA
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A closer look at solfege and how it applies to the major scale, the three forms of minor and chromaticism

Melody – Notes, Scales, Nuts and Bolts – YaleCourses

YaleCourses

Listening to Music (MUSI 112)

This lecture explores the basic nature of melody. Touching on historical periods ranging from ancient Greece to the present day, Professor Wright draws examples from musical worlds as disparate as nineteenth-century Europe and twentieth-century India, China, and America. Professor Wright puts forth a historical, technical, and holistic approach to understanding the way pitches and scales work in music. He concludes his lecture by bringing pitch and rhythm together in a discussion of Beethoven’s Ninth Symphony.

00:00 – Chapter 1. The Nature of Melody
02:37 – Chapter 2. The Development of Notes and the Scale
14:43 – Chapter 3. Major, Minor, and Chromatic Scales in World Music
33:03 – Chapter 4. Pitch and Rhythm in Beethoven’s Ninth Symphony

Relative Major and Minor Scales for Guitar

fishbellyrocks

In this lesson I discuss the concept of “relative” keys, in a simpler form and geared towards scales, and how to find the relative major or minor key. I’ve done this using..(read more and get documentation on my site below)
http://www.walkerguitar.com/basic-mus…

5 Pentatonic Scale Shapes You Must Know – GuitarHabits

Guitar habits

http://www.50coolblueslicks.com

Music Theory – The Harmonic Minor Scale

creativeguitarstudio·395 videos

http://www.creativeguitarstudio.com/

LESSON HANDOUTS /TABS:
http://www.creativeguitarstudio.com/l…

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I am a new subscriber and your lessons are helping me a lot… I cannot thank you enough!

My question is, Can you please cover the Harmonic Minor Scale. I keep hearing about how it is so widely used but after playing it, I cannot seem to get it to sound good over anything. I mostly would like to know where and when I am supposed to be using it. My favorite style of music is the contemporary jazz style. I purchased your album off of your web site and I’m sure that I hear you use it in your music. By the way I love your album. Hope you make another one soon.

Thanks,
Zack Paris, France

Blues Lesson – Scales, Progressions – – by John Ferrara

johnferrara1000·3 videos

Part 1 of a discussion on blues. This video consists of scale choices, and basic progressions with some common variations. Part 2 (in another video) demonstrates some playing examples. Visit http://www.John-Ferrara.com for downloads, and more.

Music Theory 101 – Scales and Modes – JamPlayDotCom

JamPlayDotCom·393 videos

John Ferrara – Blues lesson – Scales, Progressions

johnferrara1000·3 videos

Part 1 of a discussion on blues. This video consists of scale choices, and basic progressions with some common variations. Part 2 (in another video) demonstrates some playing examples. Visit http://www.John-Ferrara.com for downloads, and more.

Melody – Notes, Scales, Nuts and Bolts

YaleCourses·1,176 videos

The Egyptian Scale

guitarblogupdate·190 videos

http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers questions from off of his Guitar Blog website…

Q). One problem I’m having when studying scales is that I don’t fully understand how to apply them. Especially, exotic scales. So, could you go through how a guitarist should approach this? Maybe, run through a scale for me I’m studying now, it’s the, “Egyptian Scale.” Thanks Andrew!
Gus — Germany

A). The idea of practicing new scales (whether they’re exotic or not) has a lot to do with having a solid entrance approach with new scales. There’s a 3-Step process I like to use to help my own students with learning scales. Eventually this idea can be adapted to learn any new type of scale.

The method begins with that of pattern recognition, so practice the heck out of your scale shapes all over the neck, in all keys… Also, you must recognize that every scale has it’s own unique harmony, (harmony = the chords that come from the scale you’re studying). Ultimately, there comes the creation of short chord progressions that you can jam on over & over again to attain your; licks, lines, runs, musical statements and ideas. Down the road the scale will become well engrained and very easy to create melodies with!

Thanks for writing in.

The Creative Guitar Studio Web-site:
http://www.creativeguitarstudio.com/

Andrew’s Official Q & A Guitar Blog Website:
http://www.andrewwasson.com

MUSIC READING – Level 6: Understanding Key Signatures

creativeguitarstudio·365 videos

Andrew Wasson of Creative Guitar Studio answers a viewers question:

“I am more or less a beginner guitarist and I am hoping that you can help me with a good explanation about something called Musical Key Signatures.

So far, all I keep reading about is some concept to do with it called the, “Clock Theory.” It seems to be used all over the internet, but I just don’t get a number of things to do with this whole topic such as:

1). Why do we have to know about Key Signatures?

2). What can learning about this stuff do to help my guitar playing?

3). What does it all have to do with a Clock? It seems like most of the explanations online keep showing a clock. I just don’t see how music keys relate to clocks?

Thank you for considering my question,
Jacob – Halifax, NS. CANADA

For a Handout of this lesson please follow the link below:
http://www.creativeguitarstudio.com/l…

Official Website:
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http://creativeguitarstudio.blogspot.