Music Theory Comprehensive Complete: Part 7, 8, & 9

Learn how inversion names use numbers like 6-4 to show chord order, not the notes, and why roman numeral notation differs from chord-name notation, with a preview of figured bass.

Explore triad inversions in C major, identifying root position, first inversion (third in bass), and second inversion (fifth in bass), and learn inversion naming like six four and one six.

Explore seventh chords and their four inversions, with inversion names independent of major or minor quality, and learn root-position seventh chords, figures like 1 7, 65, 64, 43, plus resolving sevenths.

Explore SATB voicings and the resolution of the five-seven chord, focusing on the leading tone resolving up to the one and the chordal seventh resolving down, with proper doubling.

Explore root-position V7 to I resolutions in satb, using D major as a case study, with leading tone up, chordal seventh down, and optionally omit the fifth.

Explore inversions of V7 in SATB writing, analyze smooth voice leading from A7 through 565, 543, 52, and 16 to the tonic, and learn practical resolutions.

Explore chordal seventh and voice-leading quirks, including a voice exchange used to approach a perfect authentic cadence in root-position five-one, resolving the leading tone up to the soprano.

Avoid doubling the leading tone in a V7 chord to prevent parallel octaves when resolving to a perfect authentic cadence; instead, adjust voicing to remove the doubled leading tone.

Explore figured bass and Baroque emphasis on horizontal melodies, learn how baseline and inversion symbols guide the accompaniment, and practice realizing figures for keyboard performance.

Learn to convert figured bass into roman numerals, recognizing that the bass note is not the chord root and identifying inversions through examples in C minor.

Realize figured bass by writing it out in four-part harmony with correct inversion, voice leading, and careful doubling to avoid parallels.

Examine a Bach harmonization in G minor with figured bass and melody, realize the alto and tenor parts around the soprano, and practice roman numeral realization.

Realize Bach's chords with box notation in MuseScore, revoice voices, and manage rests while analyzing roman numerals, bass figures, and the F-sharp leading tones shaping major five progressions.

Master six basic figured-bass rules: apply accidentals by a half step, raise the third above the bass, place chords in proper octaves, and follow voice-leading and doubling guidelines.

Analyze phrasing by examining tonic, dominant, and the predominant area, showing how a phrase moves from tonic to predominant to dominant and back.

Define the predominant area in the key of C major, using the four chord to create motion from tonic toward five and back to tonic.

In C major, the ii minor and IV major chords establish the predominant area, and inversions like F in the bass maintain motion toward the dominant.

Explore how tonic, predominant, and dominant areas shape song structure, using four-bar sections in C major to move from tonic through predominant to dominant and back to tonic.

Shows converting to C minor, using a diminished two, minor four and four six, and raising the five (and five seven) to major before returning to C minor.

Learn to move from root position four to five without parallels by using contrary motion in a C major example, with the bass up while other voices move down.

In minor keys, double the third on the iiº chord to avoid emphasizing the dissonant interval, and use first inversion (iiº6) for a smoother sound.

Analyze pre-dominant seventh chords in major and minor keys, including two-seven progressions, minor seventh, half-diminished chords, and diminished seventh, with resolutions to the dominant five.

Harmonizing chorale melodies teaches four-part SATB harmony, cadences, roman numeral analysis, bass-line crafting, and soprano-led melodies, guiding pianists to improvise complete harmonizations.

Analyze a short Bach-harmonized melody in G major or E minor to determine the key, and construct a perfect authentic cadence with proper voice-leading in four-part harmony.

Explore tonic predominant dominant tonic motion, identify tonic-area chords, predominant and dominant functions, and map Roman numerals to harmonize a short melody.

Analyze chords in G major using roman numerals, focusing on five and five-seven chords to move harmony and prolong the tonic, while keeping one chord per quarter note.

Craft a soprano and bass line over five and five-seven chords, using inversions (A56, A564, A43, A16, A26) and a passing tone to create a cohesive bass arc.

Learn to complete inner voices in a Bach-style harmonization by selecting notes for the five six chord, managing voice leading, and using passing tones to craft smooth cadences.

Harmonize Mary had a little lamb in four-part harmony, exploring cadences, chord choices, and voicings in C major to craft melodic and harmonic structure.

Identify the key and tonic, then voice and harmonize cadences in C major, constructing perfect authentic cadences with V7 resolution while applying clear voice leading and bass movement.

Explore harmonization concepts by outlining tonic, predominant, and dominant areas in a C major framework, labeling chords, experimenting with inversions, and building a bass-driven cadence.

Explore harmonization no. 2 by writing out the bass line through tonic and dominant progressions, using walking bass, arpeggios, and labeled inversions (six four, root position, first inversion).

Complete the inner voices of harmonization by shaping smooth voice leading across chords, using arpeggios, bass notes, and careful progression decisions.

Proofread and double check your harmonization work by proof listening, playing through on a piano, and focusing on issues like parallel octaves and tendency tones to reveal and fix errors.

Write musically and keep the music interesting by avoiding repetitive chords and emotionless moments. Connect melodies and bass lines with small, expressive note choices and think musically.

Prioritize strong voice leading while preserving the independence of each line, treating the tenor and alto parts as separate melodies, and balance ideal voice leading with avoiding overly boring music.

Work through worksheet number three to practice, then use the melodies file to harmonize multiple tunes and explore many ways to harmonize each melody and look forward to closing thoughts.

Explore what's next in music theory, including the cadential six-four and root progressions, as parts 8 and 9 build toward pop-influenced concepts.

Delve into the expansion of tronic, especially the goofy six four core, treating tonic notes as passing tones. Learn exceptions and new rules for advancing music theory.

Identify and prepare the essential tools for this course: use MuseScore or any note-input program to input and play back music; optionally use staff paper and pencils for handwritten notation.

Review and reinforce music theory by revisiting past worksheets, identifying problem areas, and drilling targeted topics before continuing through part eight.

Set up a single MuseScore file for all examples, adding content sequentially in a grand staff in C major, with downloadable MuseScore or PDF versions.

Explore cadential six-four chords and how context shapes their function. See why they resemble a dominant five-chord, resolving in a D major half cadence.

Explore chord function in context, distinguishing tonic, one chord, and five chord roles. Learn how an A64 inversion can still function as a five and how interpretation shapes the theory.

Explore expanding the dominant area by treating tonic notes as passing tones, lean into cadential six-four chords, and resolve to the five chord after prolonging the dominant.

Analyze a MuseScore arrangement of my country tis of thee to identify cadential six four chords, rhythmic corrections, and voice-leading resolution from six four to five three.

Explore cadential 6/4 chords in music theory, focusing on a tonic in six-four inversion followed by a root-position five chord, with strong-beat placement and downward voice-leading.

In F major, the neighboring six-four is a tonic extension labeled A64; keep the bass fixed while the upper voices move up and return, adding color.

Learn how the neighboring six-four chord, notated as A1536453, embellishes the tonic and extends the dominant, compare pedal six-four, and distinguish it from cadential six-four.

Explore how neighboring six-four chords embellish the dominant and extend the five and the tonic, using a practical move from five to six-four back to five in F major.

Master neighboring 6/4 chords by starting in root position, adding upper notes while keeping the bass. Resolve back to the same voicing as the original chord.