scale theory

Looking for advice from the music theory nerds in our community. I’d like to incorporate more theory for some of my teens and students in higher levels. What do you use? Books? Online tools? This is for students in levels 7 and up, who are…

• Last updated 2 years ago
• 2-5-1, 2-5-1 chord progression, 7th chords, alternative perspective of scale, chord progression, chord progressions, chord theory, circle of 5ths, circle of fifths, dominant 7, dominant 7th, dominant 7ths, ear training, integrated theory, intervals, jazz chords, key chords, major 7, major 7th, major 7ths, minor 7, minor 7th, minor 7ths, naturally occuring 3s and 4s, naturally occurring chords, naturally occurring notes, Neil's Responses (YouTube Videos), NO 3 & 4, NO34, PB, playing-based, relative key, relative major, relative minor, relevant, role of scale, root chords, root position, scale, scale formula, scale theory, scale tone chords, scales, theory, theory workshop, transcribing, transcribing composition

I am going deeper into “scale” with my more advanced students in the Development Levels and in Accompaniment 2. Having come from a very extensive classical musical training, I understand scale, key signature, and advanced theory. However, a student has asked me, and I ask…

• Last updated 3 years ago
• comp & improv, comp and improv, comp/improv, geography, geography of keyboard, Gordon Harvey, improv, improv ideas, improvisation, improvisation ideas, improvising, integrated theory, key, key signature, keyboard geography, Laurie Richards, naturally occuring 3s and 4s, NO34, Robin Keehn, scale, scale fingering, scale journey, scale maps, scale theory, scale tone chords, scales, teaching scale, theory

Can someone recommend to me how they teach their students the Minor Scales? I teach major scales in the order of the circle of fifths. Then, I usually start with natural minor, and show the relationship with the relative major, since they have the same…

• Last updated 4 years ago
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Jazz program.The key of Solace of the Wind. First off I might say it’s C Minor with it’s key signature and initial chord but it’s the final chord that’s supposed to be the final arbiter, right? And that’s A flat Minor. In fact the whole…

• Last updated 4 years ago
• changing keys, chord theory, ending chord, final chord, Gordon Harvey, imperfect cadence, jazz, Jazz 1, jazz chords, jazz clues, jazz melody, jazz program, jazz program questions, JC, key, key chords, key of the moment, key signature, last chord, lydian, mixolydian, modes, scale theory, Solace of the Wind, theory, tonic, touch of jazz

I have a question about the Amazing Grace Variation from book two. How would you write the last line in I IV V format – from the vi, then F/D, F/G, and Fm. You wouldn’t write IV/2nd would you? Is it IV/6th? I have a…

• Last updated 2 years ago
• chord, chord diagrams, chord structure, chord theory, chords, developing I-IV-V, I-IV-V, I-IV-V chords, key chords, Laurie Richards, lowercase Roman numerals, major scale, Nashville Number System, Neil Moore, Neil's Responses (YouTube Videos), playing chords, processing I IV V, Roman numeral, Roman numeral analysis, Roman numerals, scale, scale degrees, scale theory, scale tone chords, split chords, theory, uppercase Roman numerals

Have a random question about 0246135 in Accompaniment 2 (I checked simpedia and here before posting): What is the reason we go in the particular order of notes on the keyboard by skipping up to F# from E and back down to its natural scale…

• Last updated 2 years ago
• 0246135, geography of keyboard, key, key names, key naming, key signature, keyboard geography, major scale, Neil Moore, Neil's Responses (YouTube Videos), scale, scale formula, scale theory, scales, sharps and flats, teaching scale

In Accompaniment 2 (Scale Tone Chords and Transposition), Why doesn’t Neil use or mention the fairly standard nomenclature of scale degrees where the Roman numeral is capitalized when MAJOR or lower case when minor (I ii iii IV V vi vii)? He says that the…

• Last updated 4 years ago
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I don’t understand the “scale journey on the keyboard.” I know a lot about scales and can play them all, but my understanding is this is playing the scales using 3 fingers of the LH and 4 of the RH starting in various positions on…

• Last updated 4 years ago
• composition, improvisation, key, key signature, naturally occuring 3s and 4s, NO 3 & 4, NO34, patterns, playing-based, playing-based tools, reading, scale, scale fingering, scale formula, scale journey, scale maps, scale theory, scales, teaching scale, tfmm, Time for More Music, value of TFMM

I had a student with extensive prior experience ask the difference between a maj 7th and 7th today so I hope this question makes sense. Is Bb the dominant 7th in the key of F? Cmaj7 is C, E, G, B. C7 is C, E,…

• Last updated 4 years ago
• 7th chords, accomp, Accompaniment‏, accompaniment 1, accompaniment program, building chords, chord theory, chords, discovering chords, dominant 7, dominant 7th, extended chords, forming chords, identifying chords, inheriting chords, key, learning chords, major 7, major 7ths, major scale, playing chords, root chords, scale, scale theory, scales, theory, voicing chords

I have a question about the C7 chord: we drop our thumb down a whole step to Bb, but how does this make it a C7 chord, when Bb is not the 7th note that we count from C? Its full name is “dominant 7th”,…

• Last updated 7 years ago
• 7th chords, accompaniment, chord theory, chords, dominant 7, major 7, major 7ths, scale theory, theory, voicing