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AP Music Theory Sepand Shahab
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5.0

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Level Intermediate
Lessons (min)
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5.0 2 Ratings & 2 Reviews
Audio: English

Professor Sepand Shahab’s AP Music Theory course will teach you everything you need to know to not only read scores, but also score highly on the AP exam. Each lesson begins with an in-depth overview of the subject matter followed by several worked out examples like the ones you will encounter on the test. Professor Shahab breaks down topics into easy to learn segments and covers everything on the AP course such as Triads, Seventh Chords, Cadences, and Secondary Dominants. Professor Shahab has a Master's of Fine Arts along with 5+ years of music teaching experience.

Table of Contents
Course Details


Note Reading			12:37
	Intro		0:00
	Lesson Objectives		0:10
	Note Names on the Keyboard and Staff		0:30
		Helpful Tip to Remember	0:37
	Memory Aids		3:46
	Ledger Lines		5:41
	Example 1		7:21
	Example 2		9:29
	Example 3		10:23
	Example 4		11:20
Scales			23:25
	Intro		0:00
	Lesson Objectives		0:07
	Whole Steps & Half Steps		0:36
		Whole Steps	1:31
		Half Steps	1:37
	The Major Scale		3:31
	Minor Scales 1: Natural Minor		5:07
		Natural Minor Starts Here	5:31
		Write Notes on Staff	5:45
	Minor Scales 2: Harmonic Minor		7:11
		G Sharp	7:27
		Write Notes On Staff	8:04
	Minor Scales 3: Melodic Minor		8:12
		Descending Form on Scale	9:29
		Ascending Form on Scale	10:02
		Write Notes on Staff	10:27
		Melodic Minor Ascending: Whole & Half Step Pattern	11:10
		Melodic Minor Descending: Whole & Half Step Pattern	11:51
	Example 1		12:29
	Example 2		15:41
	Example 3		18:31
	Example 4		20:56
Key Signatures			18:41
	Intro		0:00
	Lesson Objectives		0:07
	Why Key Signatures?		0:45
	Using Scale Patterns to Find Key Signatures		2:50
		Major Scale Reminder	3:00
	The Circle of Fifths		5:36
	Example 1		11:41
	Example 2		13:52
	Example 3		15:34
	Example 4		17:37
Intervals			33:19
	Intro		0:00
	Lesson Objectives		0:07
	Definition		0:28
		What Is An Interval?	0:32
		Melodic Example	1:00
		Harmonic Example	1:07
	Interval Numbers		1:30
		Compound Interval	2:49
	Interval Spellings		3:26
		Number & Note Name	3:45
	Interval Qualities		5:24
		Major Scale	6:35
		Perfect	7:14
		Minor	7:38
	Interval Alterations		8:55
		Augmented Interval	9:42
		Diminished Interval	10:11
		Chart to Remember Interval Sizes	10:22
	Using Key Signatures to Find Intervals		10:49
		Practice Example: Major	12:03
		Practice Example 2: Major	12:30
		Practice Example: Minor 3rd	12:59
		Practice Example: Minor 6th	13:33
		Practice Example: Minor 7th	13:53
	Using Key Signatures to Find Intervals, Part 2		14:13
		Example: Major 3rd Above D Sharp	14:28
		Example: Minor 6th Above G Flat	15:42
	Inverting Intervals		16:45
		What Major, Minor & Perfect Becomes	18:20
	Example 1		19:09
	Example 2		22:42
	Example 3		24:35
	Example 4		30:33
Triads			26:11
	Intro		0:00
	Lesson Objectives		0:07
	Triads in Major		0:30
		Quality of Triads	2:09
		Upper Case = Major Triads	2:17
		Lower Case = Minor Triads	2:28
		Example: E Major	2:55
		Tonic Degree	4:09
		Supertonic Degree	4:13
		Mediant Degree	4:21
		Subdominant	4:28
		Dominant	4:35
		Submediant	4:40
		Subtonic	4:49
	Triads in Minor		5:47
		a Minor	5:55
		d Minor	6:58
	Major Triads		8:04
		Construct Major Triad: E flat	9:22
		Construct Major Triad: D Flat	10:55
	Minor Triads		11:44
		Construct Minor Triad: F Sharp	12:30
	Diminished Triads		14:02
		Find Diminished Triad in B Major	15:02
		Find Diminished Triad in B Minor	16:00
	Augmented Triads		16:49
		Structure	17:12
		Turn E Major Chord Into Augmented Triads	17:39
		Turn A Minor Chord Into Augmented Triads	18:52
	Example 1		20:08
	Example 2		21:11
	Example 3		22:52
	Example 4		24:19
Seventh Chords			19:42
	Intro		0:00
	Lesson Objectives		0:07
	Seventh Chords in Major		0:26
	Seventh Chords in Minor		2:56
		Minor, Major, Dominant, Diminished	4:44
	Major Seventh Chords		5:33
		Practice	6:07
	Minor Seventh Chords		7:10
		Practice	7:35
	Dominant Seventh Chords		8:38
		Practice	9:10
	Diminished Seventh Chords		10:14
		Half-Diminished Seventh Chord	10:55
		Practice	11:17
	Half-Diminished Seventh Chords		12:22
	Example 1		13:50
	Example 2		14:58
	Example 3		15:57
	Example 4		17:14
Inversions of Triads			17:27
	Intro		0:00
	Lesson Objectives		0:07
	First Inversion Triads		0:25
		Root Position	0:54
		Invert Chord	1:05
		First Inversion Chord	1:24
		Example With Minor Chord	2:00
	Second Inversion Triads		2:38
		Example With Diminished Chord	3:30
	Figured Bass Symbols		4:27
		Example With C Major	6:23
		Example With 2nd Minor	7:18
		Example With 2nd Inversion	8:51
	Example 1		10:01
	Example 2		11:06
	Example 3		12:26
	Example 4		14:22
Inversions of Seventh Chords			19:11
	Intro		0:00
	Lesson Objectives		0:07
	First Inversion Seventh Chords		0::30
		Start w/ Root Position Chord	0:39
		Review Third Chord In Base	1:48
	Second Inversion Seventh Chords		2:01
		Example: Minor Seventh Chord	2:59
	Third Inversion Seventh Chords		3:43
		Example: E Major Seventh Chord	5:14
	Figured Bass Symbols		6:32
		Example: Third Inversion Seventh Chord	8:55
		Another Example	9:43
	Example 1 (Practice Problem)		10:44
	Example 2		13:03
	Example 3		15:48
	Example 4		17:15
Part Writing Root Position Triads			24:41
	Intro		0:00
	Lesson Objectives		0:08
	Roots a 4th Apart		0:37
		Rule 1 to Keep In Mind	1:24
		Rule 2 to Keep In Mind	1:54
		Practice Example	4:16
		Practice Example	5:40
	Roots a 3rd Apart		8:47
		Practice Example	11:07
	Roots a 2nd Apart		11:57
		Practice Example	14:20
		Practice Example	15:34
	Example 1		16:20
	Example 2		18:00
	Example 3		20:03
	Example 4		22:10
Voice Leading			18:24
	Intro		0:00
	Lesson Objectives		0:09
	Voice Ranges		0:38
		Soprano Voice	1:04
		Alto Voice	1:11
		Tenor Voice	1:20
		Bass Voice	1:29
	Parallel Motion		2:07
	Similar Motion		3:55
		Definition	4:16
		Example:Contrary Motion	4:46
	Oblique Motion		6:03
		Definition	6:09
	Open and Closed Spacing		6:51
		Closed Spacing Definition	7:40
		Open Spacing Definition	8:56
	Common Voice Leading Errors		10:15
		Parallel Octaves	10:34
		Parallel Fifths	11:22
		Spacing	12:18
		Completed Chords	13:48
		Taking Over Other Voices	14:31
		Voice Crossing	15:25
	Example 1		15:41
	Example 2		16:09
	Example 3		16:51
	Example 4		17:38
Cadences			15:04
	Intro		0:00
	Lesson Objectives		0:06
	Perfect Authentic		0:30
		Example: Perfect Authentic Cadence Minor	1:39
	Imperfect Authentic		3:05
		Definition	4:00
	Half Cadence		4:42
		Definition	4:53
		Example: Half Cadence in Minor	5:30
	Plagal Cadence		6:49
		Example: Plagal Cadence in Minor	7:49
	Deceptive Cadence		8:25
		Definition	8:30
		Example: Deceptive Cadence in Minor	9:52
	Example 1		11:01
	Example 2		12:02
	Example 3		12:59
	Example 4		13:45
Part Writing First Inversion Triads			25:10
	Intro		0:00
	Lesson Objectives		0:09
	Substituting First Inversion Chords		0:35
		Main Use of First Inversion Chord	1:24
	Parallel First Inversion Chords		6:01
	First Inversion Chords in Sequence		9:48
	Example 1		13:11
	Example 2		16:46
	Example 3		20:35
	Example 4		22:30
Part Writing Second Inversion Triads			17:14
	Intro		0:00
	Lesson Objectives		0:08
	Passing Second Inversion Chords		0:28
		Start At Base Line	0:58
	Neighboring Second Inversion Chords		3:03
		Why It's Called Neighboring	3:48
	The Cadential Second Inversion Chord		4:28
		Tips to Remember	6:47
	Arpeggiating Bass Second Inversion Chords		7:12
	Example 1		8:33
	Example 2		10:52
	Example 3		13:11
	Example 4		15:01
Non-Harmonic Tones			24:16
	Intro		0:00
	Lesson Objectives		0:07
	Passing Tones		0:28
		Practice Example	3:19
	Neighboring Tones		4:48
	Suspensions		6:27
		3 Parts	6:54
	Appoggiaturas		12:15
		Defined As Approggiaturas Because…	13:50
	Pedal Point		14:15
		Definition	15:54
	Example 1		16:15
	Example 2		18:18
	Example 3		20:22
	Example 4		21:22
Part Writing Seventh Chords			25:28
	Intro		0:00
	Lesson Objectives		0:08
	Preparing and Resolving the 7th		0:42
		Example With Minor Key	3:30
	V7 and Its Inversions		6:03
		Difference Between V7 & Other Seventh Chords	6:10
	Seventh Chords in Sequence		9:55
	Example 1		15:16
	Example 2		18:21
	Example 3		20:13
	Example 4		22:02
Secondary Dominants & Leading Tone Chords			27:09
	Intro		0:00
	Lesson Objectives		0:10
	Dominants and Secondary Dominants		0:34
		Definition	1:16
		Practice Example	3:19
	Leading Tone and Secondary Leading Tone Chords		6:09
		Example: Minor Key Note	6:25
		Practice Example	8:31
	A Progression with Secondary Dominants		9:41
		Start With Basic Progression	10:07
		Where Can You Introduce Secondary Dominants	11:01
		Embellish With Another Secondary Dominant	12:40
	A Progression with Secondary Leading Tone Chords		16:02
		Embellish with Secondary Leading Tone Chords	17:13
	Example 1		21:43
	Example 2		22:50
	Example 3		24:10
	Example 4		26:07
Modulation to Closely Related Keys			28:03
	Intro		0:00
	Lesson Objectives		0:08
	Closely Related Keys		0:27
		Relative Minor	1:26
		Key Signatures	2:05
		How to Tell Closely Related Keys	2:50
		Example: F Major	3:40
	Chords Common to More than One Key		5:32
		Example: F Major	6:42
		Which Chord 2 Keys Have in Common	7:29
	Modulating with a Common Chord 1		9:03
	Modulating with a Common Chord 2		12:37
	Example 1		17:16
	Example 2		18:54
	Example 3		20:57
	Example 4		23:19
Phrases & Periods			38:39
	Intro		0:00
	Lesson Overview		0:09
	A Musical Phrase		0:23
		Build Phrases	2:07
		Focus on Base & Melody	3:19
		Important Idea/ Summary of Phrases	5:37
	The Form of a Period		6:08
		Components of a Period	6:23
		Practice: Write Out All the Harmonies	10:03
	Writing a Period		13:04
	Example 1		20:40
	Example 2		22:34
	Example 3		27:39
	Example 4		33:11
Binary & Ternary Forms			39:15
	Intro		0:00
	Lesson Objectives		0:08
	Binary Form Diagram		0:29
		2 Parts for Binary Form	0:43
	Writing a Binary Form		3:23
	Ternary Form Diagram		16:47
		3 Parts	17:02
	Writing a Ternary Form		19:19
	Example 1		24:41
	Example 2		28:28
	Example 3		32:09
	Example 4		35:35
Modes			14:25
	Intro		0:00
	Lesson Objectives		0:06
	Ionian Mode		0:36
		Ionian Mode Placement	0:56
	Dorian Mode		1:26
		Dorian Mode Drawn On Scale	1:38
		Where Dorian Differs From Ionian	3:12
	Phrygian Mode		2:39
		How Phyrgian Differs	3:30
	Lydian Mode		3:42
		Lydian Mode Compared to Major Scale	4:18
	Mixolydian Mode		4:40
		Mixolydian Mode Compared to Major Scale	5:15
	Aeolian Mode		5:29
	Locrian Mode		5:54
		Locrian Mode Compared to Minor Key	7:14
	Example 1		7:28
	Example 2		8:39
	Example 3		9:40
	Example 4		12:05

Duration: minutes

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Student Feedback

5.0

2 Reviews

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By Yong Soo Ra•May 3, 2014

Hi,
at about 3:50, why do we raise leading tone?
When is the case in which i have to raise it? only the minor? does the raising applies also for the construction of triad??
Thank you!

By Tendayi Sutherland•February 12, 2013

Thankyou , this was so helpful , you are really good at explaining things - Ive got loads of books but this just made the penny drop.