Course

The major scaleComing soon

Seven notes in a fixed pattern of whole and half steps: the scale behind most songs.

1. Whole and half stepsA half step is one semitone, a whole step is two; hear and tell them apart.
2. The C major scaleThe white keys from C to C are the major scale with no sharps or flats.
3. The patternWhole, whole, half, whole, whole, whole, half: the shape every major scale shares.
4. Scale degreesNumber the notes 1 to 7, so one idea works from any starting note.
5. Do, re, miThe sung names of the degrees, and the major scale you already know by ear.
6. G major and its F sharpStart the pattern on G and find why the seventh note must be F sharp.
7. F major and its B flatStart on F and find why the fourth note must be B flat.
8. One letter per noteA major scale uses each letter once: that is why it is F sharp and not G flat.

Major keysComing soon

A key is a scale with a home note; build the major scale from any of the twelve notes.

1. The tonic is homeHear a melody feel finished when it lands on the first note of its scale.
2. What a key is"In G major" means G is home and the notes are those of the G major scale.
3. D and A majorBuild the major scales with two and three sharps.
4. B-flat and E-flat majorBuild the major scales with two and three flats.
5. E and B majorBuild the major scales with four and five sharps, and see the pattern keep adding them.
6. Same song, new keyMoving every note by the same interval keeps the tune: that is transposing.
7. Any major scaleBuild a major scale on any of the twelve notes.

Five-note scalesComing soon

The major pentatonic: the major scale without its two half steps.

1. Five notes, no half stepsLeave out degrees 4 and 7 of the major scale and the half steps disappear.
2. The black keysThe five black keys form a pentatonic scale; play them and hear the familiar sound.
3. C major pentatonicBuild C, D, E, G, A and hear why it never clashes.
4. Pentatonic in songsFolk, pop and spiritual melodies that use only these five notes.
5. Pentatonic in every keyBuild the major pentatonic from any tonic.

The minor scaleComing soon

The natural minor scale: its sound, its pattern and its two relationships with major.

1. The minor soundHear the same tune in major and in minor, and what changes.
2. A minor on the white keysThe white keys from A to A are the natural minor scale with no sharps or flats.
3. The minor patternWhole, half, whole, whole, half, whole, whole, and where it differs from major.
4. Relative keysA minor and C major share every note; every major key has a relative minor a minor third below.
5. Parallel keysC major and C minor share a tonic; minor lowers degrees 3, 6 and 7.
6. Minor from any noteBuild the natural minor scale on any tonic.

Key signaturesComing soon

The sharps or flats at the start of the staff, and how to read the key from them.

Best after: The staff (Reading)

1. Why signatures existA key's sharps or flats are written once at the start instead of on every note.
2. The order of sharpsF, C, G, D, A, E, B: sharps always arrive in this order.
3. Naming a sharp keyThe major key is a half step above the last sharp.
4. The order of flatsB, E, A, D, G, C, F: the order of sharps backwards.
5. Naming a flat keyThe major key is the second-to-last flat; one flat is F major.
6. Minor keys from the signatureOne signature names a major key and its relative minor.
7. The circle of fifthsEach fifth up adds a sharp; each fifth down adds a flat.

Three minorsComing soon

Harmonic and melodic minor, the minor pentatonic and the blues scale.

1. The leading toneA seventh degree a half step below the tonic leans into it; natural minor lacks one.
2. Harmonic minorNatural minor with a raised seventh, and the wide step it leaves between 6 and 7.
3. Melodic minorRaise 6 and 7 going up to smooth that step; classical music lowers them coming down.
4. The minor pentatonicFive notes of natural minor: 1, flat 3, 4, 5, flat 7.
5. The blues scaleThe minor pentatonic plus the flat fifth, the blue note.
6. Which minor?Tell natural, harmonic and melodic minor apart by building them.

Intervals in depthComing soon

Naming intervals by letters, augmented and diminished, inversion and intervals past the octave.

1. Count the lettersAn interval's number counts letter names: C to E is a third, whatever the sharps.
2. Augmented and diminishedA semitone wider than perfect or major is augmented; narrower than perfect or minor is diminished.
3. Augmented fourth, diminished fifthF to B and B to F: the tritone gets its name from its letters.
4. Inverting an intervalFlip an interval and the numbers add to nine: major becomes minor, perfect stays perfect.
5. Hear the inversion pairsA third and its sixth, a second and its seventh, side by side.
6. Beyond the octaveNinths, tenths and elevenths are simple intervals plus an octave.

Four triadsComing soon

Major, minor, diminished and augmented: every triad is two thirds stacked.

Best after: What a chord is (Harmony)

1. Stacked thirdsA triad is two thirds stacked: major is major-then-minor, minor is minor-then-major.
2. The diminished triadTwo minor thirds: a tense chord with a diminished fifth.
3. The augmented triadTwo major thirds: an unsettled chord with an augmented fifth.
4. Four qualities by earTell the four triads apart by sound.
5. Spelling on any rootBuild each quality on any root, with the right letters.
6. Triad symbolsC, Cm, C° (Cdim) and C+ (Caug): the symbols for the four triads.

InversionsComing soon

The same chord with another of its notes in the bass, and how to name it.

1. Root positionThe root at the bottom: the chord as it was stacked.
2. First inversionThe third in the bass: the same chord, lighter.
3. Second inversionThe fifth in the bass: the least stable position.
4. Slash chordsC/E means a C chord with E in the bass.
5. Which note is in the bass?Hear a triad and name its bass: root, third or fifth.
6. Any triad, any inversionBuild any triad in the inversion asked for.

Major modesComing soon

Ionian, Lydian and Mixolydian: three major scales, each with one note that sets it apart.

1. What a mode isPlay C major from another note and the home moves: that is a mode.
2. IonianThe major scale is the first mode, Ionian.
3. LydianMajor with a raised fourth: bright and floating.
4. MixolydianMajor with a lowered seventh: the sound of much rock and blues.
5. The colour noteHear what the raised 4 and the lowered 7 do over a held tonic.
6. Major modes from any tonicBuild Ionian, Lydian and Mixolydian on any note.

Minor modesComing soon

Aeolian, Dorian, Phrygian and Locrian: the modes with a minor third.

1. AeolianNatural minor is the sixth mode, Aeolian.
2. DorianMinor with a raised sixth: the sound of funk and modal jazz.
3. PhrygianMinor with a lowered second: dark, with a Spanish colour.
4. LocrianLowered second and fifth: the one mode whose tonic chord is diminished.
5. Brightest to darkestOrder the seven modes from Lydian to Locrian, one lowered note at a time.
6. Seven modes, one tonicBuild every mode on the same tonic and compare each with major.

Seventh chordsComing soon

Four-note chords: a triad plus a seventh, in the five qualities you meet everywhere.

Best after: The pull of the dominant (Harmony)

1. A third on topStack one more third on a triad and you get a seventh chord.
2. Major seventhMajor triad plus a major seventh: Cmaj7.
3. Dominant seventhMajor triad plus a minor seventh: C7, the chord that wants to move.
4. Minor seventhMinor triad plus a minor seventh: Cm7.
5. Half-diminished and diminishedDiminished triad plus a minor seventh is Cm7b5; lower that seventh again for C°7.
6. Five sevenths by earTell the five qualities apart by sound.
7. The sevenths of a keyIn major: Imaj7, ii7, iii7, IVmaj7, V7, vi7, viiø7.

ExtensionsComing soon

Suspensions, added notes, ninths, elevenths, thirteenths and altered tones.

1. Sus chordsReplace the third with a fourth (sus4) or a second (sus2).
2. Added notesadd9 and the sixth chord: colour without a seventh.
3. NinthsOne more third above the seventh: Cmaj9, C9, Cm9.
4. Elevenths and thirteenthsThe upper extensions, and why the natural eleventh is left out over a major third.
5. Altered dominantsFlat and sharp ninth, sharp eleventh, flat thirteenth: tension on V7.
6. Reading a full chord symbolRead a long symbol and know which notes it asks for and which it leaves open.

Enharmonic spellingComing soon

Same sound, different names: notes, intervals, keys and chords, and why spelling records the meaning.

1. Double sharps and flatsF double sharp sounds as G; a scale needs it when G is taken by another degree.
2. Enharmonic intervalsAn augmented second and a minor third sound the same and mean different things.
3. Six sharps or six flatsF sharp major and G flat major: the same sounds, two signatures.
4. Seven sharps, seven flatsC sharp and C flat major, and why their enharmonic twins are preferred.
5. Spelling chords rightWhy E major is E, G sharp, B and not E, A flat, B.
6. One chord, four resolutionsA diminished seventh respelled four ways leads to four different keys.

Beyond major and minorComing soon

Chromatic, whole-tone and diminished scales, and the modes of melodic minor.

1. The chromatic scaleAll twelve semitones, spelled with sharps going up and flats coming down.
2. The whole-tone scaleSix notes, all whole steps: no half step, no pull home.
3. The diminished scaleHalf and whole steps alternating: eight notes that repeat every minor third.
4. Lydian dominantThe fourth mode of melodic minor: Lydian with a lowered seventh.
5. The altered scaleThe seventh mode of melodic minor, for altered dominant chords.
6. A scale for each chordMatch each chord quality to the scales that fit over it.

The harmonic seriesComing soon

Why one string sounds like many, and where octaves, fifths and thirds come from.

1. OvertonesA single note holds many quieter pitches above it.
2. Octave, fifth, fourthThe first overtones are the perfect intervals.
3. The major third in natureThe fifth harmonic is a major third, two octaves up.
4. TimbreThe mix of overtones is why a violin and a flute differ on the same note.
5. Equal temperamentWhy a piano's fifths are a little narrow, so that every key works.

High and lowComing soon

Hear which of two notes is higher, from far apart down to a single step.

1. Far apartTwo notes an octave or more apart: which is higher?
2. Closer togetherThe same question with notes a few steps apart.
3. One step apartA half or whole step: the hardest case.
4. Loud is not highA louder note is not a higher note: listen past the volume.
5. Up or down?Does a short melody end higher or lower than it began?

Seconds and thirdsComing soon

The small intervals melodies move by, heard and named.

Best after: Intervals (Fundamentals)

1. Half step or whole stepTell the minor second from the major second.
2. Steps going downThe same two seconds, descending.
3. Major or minor thirdBright four semitones or dark three.
4. Step or skipIs it a second or a third?
5. Thirds togetherBoth notes at once: harmonic thirds.
6. Four small intervalsAll four, in every direction.

Fourths, fifths, octavesComing soon

The perfect intervals: open, stable and easy to recognise.

Best after: Intervals (Fundamentals)

1. Octave or fifthThe same letter higher, or the open fifth below it.
2. Fourth or fifthFive semitones or seven: two open sounds.
3. Perfect intervals downFourths, fifths and octaves, descending.
4. Perfect intervals togetherPlayed at once: the hollow sound of a power chord.
5. The tritone among themSix semitones, heard against the fourth and the fifth.

Song anchorsComing soon

Link each interval to the opening of a tune you know, so naming becomes recognising.

1. Anchors for seconds and thirdsTunes whose first two notes are a second or a third.
2. Anchors for fourths and fifthsTunes that open with a fourth or a fifth.
3. Anchors for the octave and tritoneAn octave leap to begin a song, and the tritone that opens "Maria".
4. Anchors going downTunes that open with a descending interval.
5. Your own anchorsPick a tune for each interval and test yourself with it.

Major and minorComing soon

Major chords sound bright and minor chords dark: hear the difference in one chord.

Best after: What a chord is (Harmony)

1. Bright and darkA major and a minor chord on the same root.
2. The third makes the differenceOnly the middle note moves, by one semitone.
3. On other rootsThe same contrast on roots all over the keyboard.
4. Major or minor melodyHear whether a short melody is in a major or a minor key.
5. First hearingName the quality after a single hearing.

Sixths and seventhsComing soon

The wide intervals, which the beginner section left for last.

1. Major and minor sixthNine semitones or eight.
2. Minor and major seventhTen semitones or eleven: one hangs, one pulls up to the octave.
3. Seventh or octaveThe major seventh is one semitone short of the octave.
4. Wide intervals downSixths and sevenths, descending.
5. Wide intervals togetherSixths and sevenths, played at once.
6. Anchors for the wide intervalsTunes that open with a sixth or a seventh.

All twelveComing soon

Every interval in the octave, ascending, descending and together.

Best after: Intervals in depth (Fundamentals)

1. Inversion pairs by earA third against its sixth, a second against its seventh.
2. All twelve ascendingEvery interval, going up.
3. All twelve descendingEvery interval, going down.
4. All twelve togetherEvery interval, played at once.
5. Low and high registersThe same intervals in a low and a high octave.
6. Every direction at onceAscending, descending and harmonic, mixed.

Four triadsComing soon

Diminished and augmented join major and minor.

Best after: Four triads (Fundamentals)

1. Diminished by earThe tight, tense sound of two minor thirds.
2. Augmented by earThe stretched sound of two major thirds.
3. Diminished or augmentedThe two outer qualities side by side.
4. All four triadsMajor, minor, diminished or augmented.
5. Triads in inversionName the quality when the root is not at the bottom.

I, IV and VComing soon

Hear the three primary chords move, and name each one in its key.

Best after: I, IV and V (Harmony)

1. Home and awayHear I as rest and V as tension.
2. I or IVTell the tonic from the subdominant.
3. I, IV or VName each of the three primary chords.
4. The next chordPredict the next chord in a three-chord progression.
5. In other keysThe same progressions in G, D and F.
6. i, iv and V in minorThe primary chords of a minor key, with its major V.

CadencesComing soon

How phrases end: authentic, plagal, half and deceptive, by ear.

Best after: Cadences (Harmony)

1. Finished or notAuthentic or half: does the phrase end at home?
2. The amenThe plagal cadence, IV to I.
3. The surpriseThe deceptive cadence: V goes to vi instead of I.
4. Four endingsName all four cadences.
5. Cadences in minorThe same four endings in a minor key.

ii, iii and viComing soon

The minor chords of a major key, heard inside progressions.

Best after: ii, iii and vi (Harmony)

1. vi, the relative minorHear vi stand in for I.
2. ii before VHear ii lead into V.
3. iii, the rare oneHear iii between I and vi.
4. The four-chord loopI-V-vi-IV and its rotations.
5. Any diatonic chordName any of the seven chords of the key.

Seventh chordsComing soon

The five seventh-chord qualities, alone and in progressions.

Best after: Seventh chords (Fundamentals)

1. Major seventh or dominant seventhThe same triad with a major or a minor seventh on top.
2. Minor seventh by earThe soft sound of a minor triad with a minor seventh.
3. The two diminished seventhsHalf-diminished or fully diminished.
4. All five seventhsName any of the five qualities.
5. Sevenths in a progressionHear ii7-V7-Imaj7 and name each chord.

Borrowed and secondaryComing soon

Chords from outside the key: borrowed from minor, or pointing at another chord.

Best after: Secondary dominants (Harmony), Modal borrowing (Harmony)

1. The borrowed ivHear a minor iv in a major key.
2. Flat VI and flat VII by earTwo major chords borrowed from the parallel minor.
3. V of V by earHear the major II that pulls toward V.
4. Pointing at vi and IVHear V/vi and V7/IV.
5. Borrowed or secondary?Tell a borrowed chord from a secondary dominant.
6. Which chromatic chord nextPredict the next chord in a chromatic progression.

Hearing modulationComing soon

Hear the music change its home, and name where it went.

Best after: Modulation (Harmony)

1. A new homeHear a progression settle in a new key.
2. Up a fifthHear a move to the dominant key.
3. To the relative minorHear a move from major to its relative minor.
4. Hear the pivotHear the chord that belongs to both keys.
5. Name the new keySay where the music went.

Melodic dictationComing soon

Hear a short melody and write it down, from one degree to a whole phrase.

Best after: Major keys (Fundamentals)

1. One degree after a cadenceHear the key, then one note: name its scale degree.
2. The first five degreesThree-note melodies that move by step from do to sol.
3. The whole scaleStepwise melodies across the octave.
4. Leaps in the tonic chordMelodies that leap between 1, 3 and 5.
5. Any leapMelodies with leaps to any degree.
6. Longer phrasesEight-note phrases, heard three times.

Dictation in minorComing soon

Dictation in minor keys, with chromatic notes, rhythm and the bass line.

Best after: Three minors (Fundamentals), Rhythmic dictation (Rhythm)

1. Minor degreesName degrees in a minor key, with its flat 3, 6 and 7.
2. The raised seventhMelodies that use the leading tone of harmonic minor.
3. Chromatic passing notesNotes from outside the key between two notes inside it.
4. Pitch and rhythmWrite down the notes and their rhythm together.
5. The bass lineWrite down the lowest voice of a chord progression.

The pulseComing soon

Music has a steady beat underneath; feel it, tap it, and measure its speed.

1. Feel the beatTap along with a steady beat.
2. Steady handsKeep the beat even for two bars without drifting.
3. Faster and slowerThe same beat at different speeds.
4. Beats per minuteTempo is counted in beats per minute: 60 is one beat a second.
5. Match the tempoSet the metronome to a beat you hear.

The metronomeComing soon

How a metronome works, how to play with one, and the words for tempo.

1. How a metronome worksThe pendulum, the weight, and why moving the weight changes the speed.
2. Slow is hardKeep a steady beat at a slow tempo.
3. Tempo wordsLargo, Andante, Allegro, Presto: Italian names for speed.
4. The count-inCount one, two, three, four before you start, to set the tempo.
5. Playing with a clickTap a rhythm against the metronome's click.

Long and shortComing soon

Notes last for a number of beats: quarter, half and whole notes, and the rest.

1. The quarter noteOne beat: the note that matches the pulse.
2. The half noteTwo beats: hold it through the next click.
3. Quarters and halvesMix one-beat and two-beat notes.
4. The quarter restOne beat of silence: count it, do not tap it.
5. The whole noteFour beats: a note that fills a bar of four.
6. Read a rhythmRead a one-bar rhythm and tap it the first time.

Bars and meterComing soon

Beats fall into groups: bars, time signatures, strong and weak beats.

1. BarsBarlines group the beats into bars of equal length.
2. Four-fourThe time signature 4/4: four quarter-note beats in each bar.
3. Strong and weak beatsBeat one is the strongest, beat three the next.
4. Three-fourThree beats in a bar: the waltz.
5. Two-fourTwo beats in a bar: the march.
6. Two, three or four?Hear a piece and say whether it counts in two, three or four.

Eighth notesComing soon

Split the beat in two: eighth notes and the "and" between beats.

1. Two per beatEighth notes split each beat in half.
2. Counting "and"Say "1 and 2 and" to place the eighths.
3. Eighths and quartersMix half-beat and one-beat notes.
4. Eighths around restsEighth-note pairs with quarter rests between them.
5. A lone eighthA single eighth with a flag, and the note that follows it.
6. Two-bar rhythmsLonger rhythms with quarters, halves and eighths.

Sixteenth notesComing soon

Split the beat in four: sixteenths and their mixes with eighths.

1. Four per beatSixteenths split each beat in four: "1 e and a".
2. Eighth and two sixteenthsLong-short-short inside one beat.
3. Two sixteenths and an eighthShort-short-long inside one beat.
4. Sixteenths in a barMix all three patterns in one bar.
5. Sixteenths at speedThe same patterns at a faster tempo.

Dots and tiesComing soon

Two ways to make a note longer than its symbol.

1. The tieA tie joins two notes into one longer sound.
2. Across the barlineA tie carries a note into the next bar.
3. The dotA dot adds half the note's value: a dotted half lasts three beats.
4. The dotted quarterOne and a half beats, usually followed by an eighth.
5. Dot or tie?The same sound written two ways, and when each is used.

Off the beatComing soon

Syncopation: notes that land between the beats.

1. Silence on the beatThe eighth rest: nothing on the beat, a note on the "and".
2. SyncopationEighth, quarter, eighth: the accent moves off the beat.
3. Tied across the beatSyncopation written with ties.
4. The anticipationA note that arrives an eighth before the bar it belongs to.
5. Syncopated sixteenthsSixteenth, eighth, sixteenth.
6. GroovesTwo-bar patterns from funk, pop and samba.

More metersComing soon

Pick-ups, cut time, waltzes with eighths and bars that change length.

1. The pick-upA melody can begin before beat one.
2. Cut time2/2: two half-note beats in a bar.
3. Three-four with eighthsWaltz rhythms with eighth notes.
4. Conducting patternsFeel two, three and four by the shape of a conductor's beat.
5. Changing meterA bar of 3/4 among bars of 4/4.

Compound meterComing soon

Beats split in three: 6/8, 9/8 and 12/8.

1. Six-eightTwo beats in a bar, each split in three.
2. The dotted-quarter beatIn 6/8 the beat is a dotted quarter.
3. Six-eight or three-four?Six eighths grouped in two threes or three twos.
4. Nine-eight and twelve-eightThree and four compound beats in a bar.
5. Compound rhythmsQuarter-eighth and dotted patterns inside each beat.

TripletsComing soon

Three in the time of two, and other tuplets.

1. Three in the time of twoEighth-note triplets fit three notes in one beat.
2. Triplets and eighthsSwitch between splitting the beat in two and in three.
3. Quarter-note tripletsThree notes across two beats.
4. Sixteenth-note tripletsSix notes in one beat.
5. QuintupletsFive notes in one beat.

Swing and shuffleComing soon

Eighths played long-short: the feel of jazz and blues.

1. Straight or swungHear the long-short pairs that swing makes of eighths.
2. Swing eighthsTap eighths with a swing feel.
3. The shuffleA triplet with its middle note left out.
4. Swing and tempoSwing grows straighter as the tempo rises.
5. The backbeatAccent beats two and four.

Rhythmic dictationComing soon

Hear a rhythm and write it down.

1. Quarters and halves by earWrite down rhythms of quarter and half notes.
2. Eighths by earRhythms with eighth notes.
3. Rests and ties by earRhythms with rests and tied notes.
4. Sixteenths by earRhythms with sixteenth notes.
5. Six-eight by earRhythms in compound meter.
6. Syncopation by earRhythms with notes off the beat.

Odd metersComing soon

Bars of five and seven, grouped in twos and threes, and the hemiola.

1. Five-fourFive beats grouped 3+2 or 2+3.
2. Seven-eightSeven eighths grouped 2+2+3, and its rotations.
3. Which grouping?Hear how a bar of seven is grouped.
4. The hemiolaTwo bars of three that sound like three bars of two.
5. Two bars of sevenLonger patterns in 7/8.

PolyrhythmComing soon

Two pulses at once: three against two, four against three.

1. Three against twoHear three even notes against two in the same span.
2. Tap the threeTap three while the two sounds.
3. Tap the twoTap two while the three sounds.
4. Both handsOne hand taps three, the other two.
5. Four against threeThe next polyrhythm, with both hands.

The staffComing soon

Five lines and four spaces, and the clef that names them.

Best after: Notes (Fundamentals)

1. Five lines, four spacesNotes sit on lines or in spaces; higher on the staff is higher in pitch.
2. Line or spaceTell a note on a line from a note in a space.
3. Step and skip on the staffLine to the next space is a step; line to the next line skips a letter.
4. The treble clefThe G clef curls around the second line: that line is G.
5. Notes around GCount up and down from G to name its neighbours.

Treble linesComing soon

The five lines of the treble staff: E, G, B, D, F.

1. E, G, B, D, FThe five lines from the bottom up.
2. The bottom three linesE, G and B.
3. The top three linesB, D and F.
4. All five linesAny line, in any order.
5. Lines without countingName each line on sight.

Treble spacesComing soon

The four spaces spell FACE, plus the spaces just outside the staff.

1. F, A, C, EThe four spaces from the bottom up.
2. Spaces without countingName each space on sight.
3. Lines and spaces togetherAny note on the treble staff.
4. Just outside the staffD below the bottom line and G above the top one.
5. Reading aheadSee the next note while naming this one.

Middle CComing soon

The first ledger line, and reading notes by playing them.

1. One ledger lineMiddle C sits on a short line of its own below the staff.
2. From middle C upC, D and E at the bottom of the treble staff.
3. Middle C on your instrumentFind the C you read on the keyboard or the fingerboard.
4. Read and playAnswer by playing the note instead of naming it.
5. Middle C to the topThe whole range from middle C to the G above the staff.

Sharps and flats on the staffComing soon

The sharp, flat and natural signs, and how long they last.

Best after: Notes (Fundamentals)

1. The sharp signA sharp before a note raises it a semitone.
2. The flat signA flat before a note lowers it a semitone.
3. The natural signA natural cancels a sharp or a flat.
4. Until the barlineAn accidental lasts to the end of its bar.
5. Accidentals on sightRead sharps, flats and naturals without slowing down.

Reading a melodyComing soon

Read notes as a line: steps, skips and leaps, one after another.

1. Steps on the staffNotes moving line, space, line move by step.
2. Skips and leapsBigger gaps on the staff are bigger intervals.
3. Read a tuneName the notes of a short tune.
4. Play a tunePlay the notes of a short tune as you read them.
5. A whole phraseRead a phrase with the next notes in view.

The bass clefComing soon

The F clef: its lines, its spaces and middle C from below.

1. The F clefThe two dots surround the fourth line: that line is F.
2. Bass linesG, B, D, F, A from the bottom up.
3. Bass spacesA, C, E, G from the bottom up.
4. Bass lines and spacesAny note on the bass staff.
5. Middle C from belowOne ledger line above the bass staff.
6. Treble or bass?The same line names a different note in each clef.

The grand staffComing soon

Treble and bass joined by a brace, with middle C between them.

1. Two staves, one braceThe grand staff joins treble and bass for keyboard music.
2. Middle C in bothThe same middle C, written on either staff.
3. Left hand, right handThe bass staff is mostly the left hand, the treble the right.
4. The whole rangeNotes from both staves, mixed.
5. Both staves on sightRead across the grand staff without counting.

Ledger linesComing soon

Notes above and below the staff, and the octave numbers that name them.

1. Above the treble staffA and C on the first two ledger lines above.
2. Below the treble staffDown from middle C: B and A.
3. Below the bass staffE and C on the first two ledger lines below.
4. Above the bass staffUp from middle C: D and E.
5. Octave numbersMiddle C is C4; each C starts a new number.
6. Octave signs8va and 8vb: read an octave higher or lower and save ledger lines.

Key signatures on the staffComing soon

Where sharps and flats sit, and reading notes the signature changes.

Best after: Key signatures (Fundamentals)

1. Where the sharps sitEach sharp on its line or space, in a fixed order and shape.
2. Where the flats sitEach flat on its line or space, in a fixed order and shape.
3. Notes in the keyIn G major every F is F sharp, though no sign stands beside it.
4. Signatures in the bass clefThe same signatures, placed one line lower.
5. Accidentals against the keyA natural sign cancels the key for one bar.

The alto clefComing soon

A clef that marks middle C on the middle line.

1. A clef that marks CThe centre of the C clef marks middle C; in alto, the middle line.
2. Alto linesF, A, C, E, G from the bottom up.
3. Alto spacesG, B, D, F from the bottom up.
4. Alto on sightAny note in the alto clef, without counting.
5. Who reads altoThe viola, and why its range fits this clef.

The tenor clefComing soon

The C clef moved up a line, and switching between four clefs.

1. The C clef moves upThe tenor clef puts middle C on the fourth line.
2. Tenor linesD, F, A, C, E from the bottom up.
3. Tenor spacesE, G, B, D from the bottom up.
4. Who reads tenorCello, bassoon and trombone, in their high register.
5. Four clefsName notes as the clef changes between treble, bass, alto and tenor.

Reading in timeComing soon

Read against a clock, with the next notes in view.

1. One note a secondName each note before its time runs out.
2. FasterLess time per note.
3. Look ahead in timeThree notes in view and a deadline on each.
4. Bass clef in timeTimed reading in the bass clef.
5. Key signatures in timeTimed reading with a key signature.

Sight-readingComing soon

Play what you read the first time, in time.

1. Before you playCheck clef, key, and the highest and lowest notes first.
2. Shapes, not notesRead steps, skips and repeated notes as shapes.
3. Play it in timePlay each note on your instrument before its time runs out.
4. Bass clef at sightPlay bass-clef notes in time.
5. Accidentals at sightPlay notes with accidentals in time.

Transposing instrumentsComing soon

Instruments whose written note is not the note that sounds.

Best after: Intervals in depth (Fundamentals)

1. Written and soundingA B-flat clarinet's written C sounds B flat.
2. Instruments in B flatClarinet, trumpet and tenor saxophone, and the interval each sounds below.
3. Instruments in F and E flatHorn sounds a fifth lower, alto saxophone a major sixth lower.
4. Concert pitchConvert a written note to the note that sounds.
5. Octave transposersGuitar and bass sound an octave below what they read.

What a chord isComing soon

Three notes at once: the major and minor triads.

Best after: Intervals (Fundamentals)

1. Notes at onceA chord is three or more notes sounding together.
2. Root, third, fifthA triad: a root, a third above it and a fifth above it.
3. The major triadA major third and a perfect fifth over the root.
4. The minor triadA minor third and a perfect fifth: the middle note one semitone lower.
5. Major or minor chord?Tell them apart by ear.
6. Chord namesC means C major; Cm means C minor.

The chords of a keyComing soon

A chord on every note of the major scale, and the numbers that name them.

Best after: The major scale (Fundamentals)

1. A chord on every noteStack thirds on each note of C major, using only notes of the scale.
2. Roman numeralsName chords by the degree they stand on: I, ii, iii, IV, V, vi, vii°.
3. Major, minor, minorIn every major key, I, IV and V are major; ii, iii and vi are minor.
4. The odd one: vii°The chord on the seventh degree has a fifth one semitone smaller: diminished.
5. The chords of G majorThe same seven chords, built from G.
6. Chords in any major keyBuild any numbered chord in any major key.

I, IV and VComing soon

The three primary chords, and the songs built on them alone.

1. Three chords, many songsI, IV and V carry thousands of songs.
2. From I to V and backHear the tonic move to the dominant and return.
3. From I to IV and backHear the tonic move to the subdominant and return.
4. The twelve-bar bluesI, IV and V in the blues pattern.
5. Three chords in any keyName I, IV and V in G, D and F.

Progressions everyone usesComing soon

The four-chord loops behind most pop songs.

1. I-V-vi-IVThe loop of countless pop songs.
2. I-vi-IV-VThe fifties progression.
3. vi-IV-I-VThe same four chords, starting from vi.
4. What comes next?Predict the next chord in a familiar loop.
5. Name the loopHear a four-chord loop and name its chords.

Tonic, subdominant, dominantComing soon

What each chord does: rest, move away, pull home.

1. Rest, motion, tensionTonic rests, subdominant moves away, dominant pulls home.
2. Label the functionMark I, IV and V as tonic, subdominant and dominant.
3. Away and backThe tonic-subdominant-dominant-tonic cycle behind most phrases.
4. Hear the functionName the function of a chord in a progression.
5. Functions in other keysThe same cycle in G and F.

ii, iii and viComing soon

The minor chords that stand in for the primary ones.

1. ii for IVii shares two notes with IV and does the same job.
2. vi for Ivi shares two notes with I.
3. iii, in betweeniii shares notes with I and with V.
4. ii-V-I in triadsThe progression that leads home through ii.
5. A chain of fifthsvi-ii-V-I: each chord a fifth above the next.

The pull of the dominantComing soon

The leading tone, the dominant seventh and its tritone.

1. The leading tone pullsThe third of V is a half step below the tonic, and rises to it.
2. The dominant seventhAdd a minor seventh above the root of V: V7.
3. The tritone resolvesIn V7 the third rises a half step and the seventh falls a step.
4. V or V7?Hear the extra pull the seventh adds.
5. vii°, the dominant's cousinvii° holds the same tritone and does the same job.

CadencesComing soon

The four ways a phrase ends.

1. Authentic cadenceV to I: the full stop.
2. Plagal cadenceIV to I: the amen.
3. Half cadenceEnding on V: the comma.
4. Deceptive cadenceV to vi: the swerve.
5. Four cadencesName any of the four.

Harmony in minorComing soon

The chords of a minor key, and why its V is major.

Best after: Three minors (Fundamentals)

1. The chords of natural minori, ii°, III, iv, v, VI, VII.
2. Why V is majorRaise the seventh and v becomes V, with a leading tone.
3. i-iv-V-iThe basic minor-key progression.
4. VI and VII in minorThe major chords on the sixth and seventh degrees.
5. Minor-key cadencesAuthentic, half and deceptive endings in minor.
6. The Picardy thirdEnding a minor piece on a major tonic.

ii-V-IComing soon

The progression at the heart of jazz, with all its sevenths.

Best after: Seventh chords (Fundamentals)

1. ii7-V7-Imaj7The major ii-V-I with every chord a seventh chord.
2. Guide tonesThe thirds and sevenths move by step through ii-V-I.
3. ii-V-I in every keyThe same progression around the circle.
4. The minor ii-V-iiiø7-V7-i.
5. Chains of ii-Vsii-V into ii-V: how standards move through keys.

Secondary dominantsComing soon

Borrowing a dominant to point at a chord other than I.

1. V of VIn C, D major points at G.
2. V of viIn C, E major points at A minor.
3. V7 of IVIn C, C7 points at F.
4. V of ii and V of iiiA major points at D minor; B major points at E minor.
5. Secondary leading-tone chordsvii° of a chord: another way to point at it.
6. TonicizationA secondary dominant makes a chord a brief tonic without leaving the key.

Modal borrowingComing soon

Chords taken from the parallel minor.

1. The minor ivBorrow iv from the parallel minor: the bittersweet plagal.
2. Flat VI and flat VIITwo major chords from the parallel minor.
3. Flat IIIThe major chord on the lowered third degree.
4. Borrowed ii°The diminished ii of minor, inside a major key.
5. Borrowed or secondary chord?Tell a borrowed chord from a secondary dominant.
6. Borrowing in songsI-bVII-IV in rock and bVI-bVII-I at the end of a song.

ModulationComing soon

Changing key, and confirming the new key with a cadence.

Best after: Key signatures (Fundamentals)

1. A change of homeModulation is a new tonic that a cadence confirms.
2. Closely related keysKeys one sharp or flat apart, and their relatives.
3. The pivot chordA chord that belongs to both keys hinges the change.
4. To the dominant keyModulate from C to G.
5. To the relative keyModulate from C major to A minor.
6. Direct modulationA change of key with no pivot, like the lift up a step near a song's end.

Modal harmonyComing soon

Chord progressions that stay in a mode instead of major or minor.

Best after: Major modes (Fundamentals), Minor modes (Fundamentals)

1. Dorian vampsi-IV in minor: the raised sixth inside a chord.
2. Mixolydian rockI-bVII-IV: the lowered seventh inside a chord.
3. Lydian liftI-II: the raised fourth inside a major II.
4. Phrygian colourbII-i: the lowered second inside a chord.
5. Avoiding VWhy modal music avoids the V7 that would pull it to major or minor.

Reading a whole songComing soon

Put it all together: key, numerals, chromatic chords and what symbols leave out.

1. Find the keyFind the key of a song from its chords and its last cadence.
2. Numerals for a songName every chord of a progression by degree.
3. Spot the chromatic chordFind the chord that comes from outside the key.
4. What a symbol leaves outInversion, voicing and doubling are not in the symbol.
5. Tritone substitutionbII7 replaces V7 because they share the same tritone.
6. Analyse a songAnalyse a whole song from its chord chart.

The keyboardComing soon

The black-key groups as a map to every note.

Best after: Notes (Fundamentals)

1. Twos and threesThe black keys come in groups of two and three: your map.
2. C and FC sits left of the two black keys, F left of the three.
3. All the white keysFind any white key by name.
4. Every black keyEach black key has a sharp and a flat name.
5. Octaves on the keyboardThe pattern repeats every twelve keys.

Hand positionComing soon

Finger numbers and the five-finger positions.

1. Finger numbersThumb is 1, little finger 5, on both hands.
2. C positionRight-hand fingers 1 to 5 on C, D, E, F, G.
3. G positionThe same shape moved to G: G, A, B, C, D.
4. Left-hand C positionLeft-hand finger 5 on C, thumb on G.
5. A five-finger tunePlay a short tune in C position by finger number.

Read and playComing soon

From the treble staff to the key under your finger.

Best after: Middle C (Reading)

1. Middle C on the pianoThe C nearest the middle, and its place on the staff.
2. Read in C positionPlay C to G as you read them.
3. Read in G positionPlay G to D as you read them.
4. Sharps and flats from the pagePlay the black key the accidental asks for.
5. A tune from the pageRead and play a short melody.

Intervals on the keyboardComing soon

See and play the distance between two keys.

Best after: Intervals (Fundamentals)

1. Steps and skips on the keysNeighbouring white keys make a second; skip one for a third.
2. Thirds on the keysPlay a major or minor third above a given key.
3. Fifths on the keysPlay a perfect fifth above a given key.
4. Octaves on the keysPlay the octave above a given key.
5. Any interval on the keysPlay any interval above or below a given key.

C major with fingeringComing soon

The thumb-under fingering every scale is built on.

Best after: The major scale (Fundamentals)

1. Thumb underRight hand: 1-2-3, thumb under, 1-2-3-4-5.
2. Crossing overComing down, finger 3 crosses over the thumb.
3. Left-hand C majorLeft hand: 5-4-3-2-1, then 3 crosses over.
4. Two octavesCarry the fingering on into a second octave.
5. Contrary motionBoth hands from the same C, moving apart.

Sharp keysComing soon

G, D, A, E and B major under the hands.

Best after: Major keys (Fundamentals)

1. G major on the pianoOne black key: F sharp.
2. D major on the pianoTwo black keys: F sharp and C sharp.
3. A major on the pianoThree sharps, same fingering as C.
4. E major on the pianoFour sharps.
5. B major on the pianoFive sharps, and a left hand that starts on finger 4.

Flat keysComing soon

F, B-flat, E-flat, A-flat and D-flat major under the hands.

Best after: Major keys (Fundamentals)

1. F major on the pianoOne flat, and the right hand's fourth finger on B flat.
2. B-flat major on the pianoTwo flats; the fingering starts off the thumb.
3. E-flat major on the pianoThree flats.
4. A-flat major on the pianoFour flats.
5. D-flat major on the pianoFive flats, mostly black keys.

Minor scalesComing soon

Natural, harmonic and melodic minor at the keyboard.

Best after: Three minors (Fundamentals)

1. A minor three waysNatural, harmonic and melodic from A.
2. E and D minorThe minor keys with one sharp and one flat.
3. Harmonic minor at the keysThe raised seventh and the wide step under the fingers.
4. C, G and F minorMinor keys with more flats.
5. Any minor at the keysBuild a minor scale from any key.

Pentatonic and bluesComing soon

Five-note scales and the blues scale at the keyboard.

Best after: Five-note scales (Fundamentals), Three minors (Fundamentals)

1. Black-key pentatonicThe five black keys as a scale.
2. C major pentatonic at the keysThe five white-key notes C, D, E, G, A.
3. A minor pentatonic at the keysThe same five notes with A as home.
4. The C blues scaleC minor pentatonic plus F sharp.
5. Pentatonic in any keyBuild a pentatonic scale from any key.

Triads in every keyComing soon

The four triads as hand shapes.

Best after: Four triads (Fundamentals)

1. Major triads by shapeFingers 1-3-5 on any root.
2. Minor: move the middle fingerLower the third by one key.
3. Diminished and augmented shapesLower or raise the fifth by one key.
4. The triads of C major at the keysSeven triads on the white keys.
5. Triads on black-key rootsD flat, E flat, F sharp, A flat and B flat triads.

Inversions under the handComing soon

Inversions as hand shapes, and moving between chords smoothly.

Best after: Inversions (Fundamentals)

1. First-inversion shapeThird at the bottom, root at the top.
2. Second-inversion shapeFifth at the bottom, third at the top.
3. The closest positionPlay the next chord in the inversion nearest to the last.
4. I-IV-V with smooth inversionsMove through three chords without jumping.
5. Left-hand inversionsThe same shapes in the left hand.

Seventh chords at the keysComing soon

The five seventh chords under the fingers.

Best after: Seventh chords (Fundamentals)

1. Cmaj7, C7, Cm7Three seventh chords from one root.
2. Half-diminished and diminished at the keysCm7b5 and C°7.
3. The seventh chords of a keySeven seventh chords on the white keys.
4. Inverted seventhsSeventh chords with the third, fifth or seventh in the bass.
5. ii-V-I in the right handThree seventh chords with the least movement.

VoicingsComing soon

Spreading chords across both hands the way pianists do.

Best after: Extensions (Fundamentals), ii-V-I (Harmony)

1. Shell voicingsRoot, third and seventh: the three notes that define the chord.
2. Rootless voicingsLeave the root to the bass and add the ninth.
3. Open voicingsSpread the chord across both hands.
4. Voicing a ninth chordWhere the ninth goes so it does not clash.
5. Voice-leading a ii-V-IMove through ii-V-I with every voice moving by step or holding.

The six stringsComing soon

The open strings, their names and their numbers.

Best after: Notes (Fundamentals)

1. E, A, D, G, B, EThe open strings from the thickest to the thinnest.
2. Low E and high ETwo strings with the same letter, two octaves apart.
3. String numbersString 6 is the low E, string 1 the high E.
4. Open strings by earHear an open string and name it.
5. Fourths, and one thirdNeighbouring strings are a fourth apart, except G to B, a major third.

Frets are semitonesComing soon

Every fret raises the string by one semitone.

1. One fret, one semitoneEach fret up is the next note up.
2. Naturals on the low EE, F, G, A, B, C, D, E along the sixth string.
3. Naturals on the A stringThe notes along the fifth string.
4. Sharps and flats on the fretboardThe frets between the natural notes.
5. The twelfth fretFret 12 is the open string an octave up.

First positionComing soon

Every note in the first frets, and reading them from the staff.

Best after: Middle C (Reading)

1. Notes on D and GThe notes in the first frets of the fourth and third strings.
2. Notes on B and high EThe notes in the first frets of the top two strings.
3. All six strings, first fretsAny note from the open strings to the fourth fret.
4. Guitar music sounds lowerGuitar is written an octave above the sound, to stay on the treble staff.
5. Read and play on the top stringsPlay what you read on the G, B and E strings.

Octave shapesComing soon

The same note in several places, found by shape.

Best after: Notes (Fundamentals)

1. Two strings up, two frets upThe octave shape from the sixth and fifth strings.
2. Crossing the B stringAcross the G and B strings, the shape shifts one fret.
3. One note, five placesFind the same note in five places on the neck.
4. Every C on the neckFind every C from the nut to the twelfth fret.
5. Any note, anywhereFind any note on any string.

A major scale shapeComing soon

One fingering of the major scale, and moving it to any key.

Best after: Major keys (Fundamentals)

1. One octave of G majorA one-octave shape from the sixth string.
2. Two octaves of G majorThe shape extended across all six strings.
3. Moving the shapeSlide the same shape to A, and it becomes A major.
4. From the fifth stringThe major shape with its root on the A string.
5. Major anywhere on the neckBuild a major scale from any root.

The pentatonic boxComing soon

The minor pentatonic shape every guitarist knows.

Best after: Three minors (Fundamentals)

1. The box in AThe minor pentatonic at the fifth fret.
2. Roots in the boxWhere the A falls inside the shape.
3. Moving the boxSlide the box to any minor key.
4. Same box, major pentatonicThe A minor box is also C major pentatonic.
5. The blue note in the boxAdd the flat fifth to make the blues scale.

Five positionsComing soon

The other four pentatonic shapes, linking the whole neck.

1. The second positionThe shape that starts where the box ends.
2. Positions three to fiveThe remaining shapes up the neck.
3. Connecting positionsSlide from one shape into the next.
4. Up the neck on one keyPlay one pentatonic through all five positions.
5. Pentatonic in any positionBuild the pentatonic from any root, in any shape.

Minor scale shapesComing soon

Natural and harmonic minor shapes, and the relative major.

Best after: The minor scale (Fundamentals), Three minors (Fundamentals)

1. A minor from the sixth stringA natural minor shape at the fifth fret.
2. Minor from the fifth stringThe minor shape rooted on the A string.
3. The harmonic minor shapeOne fret changes: the raised seventh.
4. Relative major and minor on the neckThe same notes, a different home.
5. Minor anywhere on the neckBuild a minor scale from any root.

Open chordsComing soon

The first chords: major and minor shapes with open strings.

Best after: What a chord is (Harmony)

1. E and A majorTwo open major shapes.
2. D, G and CThree more open major shapes.
3. Em, Am and DmThe open minor shapes.
4. Which open chord?Build any open chord asked for.
5. Three-chord songs on guitarI, IV and V with open chords in G, D and A.

Barre chordsComing soon

Movable chord shapes that work in any key.

Best after: Four triads (Fundamentals)

1. The E shapeThe open E chord with a barre: a major chord from the sixth string.
2. The A shapeThe open A chord with a barre: a major chord from the fifth string.
3. Minor barre chordsThe Em and Am shapes with a barre.
4. Naming a barre chordThe chord is named by the root under the barre.
5. CAGEDFive open shapes that tile the whole neck for one chord.

Triads on string setsComing soon

Three-note chords on three neighbouring strings, in every inversion.

Best after: Inversions (Fundamentals)

1. Triads on the top stringsMajor and minor triads on G, B and E.
2. Triads on the middle stringsThe same chords on D, G and B.
3. Inversions up the neckOne chord in three inversions, climbing the neck.
4. Through a progressionChange chords with the smallest move.
5. Diminished and augmented on guitarThe two other triads on string sets.

Seventh chords on guitarComing soon

Seventh-chord shapes and jazz voicings.

Best after: Seventh chords (Fundamentals)

1. Dominant seventh shapesC7 and its movable shapes.
2. Major seventh and minor seventh shapesMaj7 and m7 from the sixth and fifth strings.
3. Half-diminished and diminished shapesm7b5 and °7 on the neck.
4. Drop-2 voicingsFour-note voicings on the top four strings.
5. ii-V-I on guitarThree seventh chords with the least movement.

The four stringsComing soon

The open strings, their names and their numbers.

Best after: Notes (Fundamentals)

1. E, A, D, GThe open strings from the thickest to the thinnest.
2. An octave below the guitarThe bass strings are the guitar's lowest four, an octave lower.
3. Bass string numbersString 4 is the low E, string 1 the G.
4. Bass strings by earHear an open string and name it.
5. All in fourthsEvery neighbouring pair of strings is a fourth apart.

Frets and notesComing soon

Every fret is one semitone; the naturals along each string.

1. One fret, one stepEach fret raises the string by a semitone.
2. Notes on the E stringThe naturals along the fourth string.
3. Notes on the A stringThe naturals along the third string.
4. Notes on the D and G stringsThe naturals along the top two strings.
5. Fret twelve on bassFret 12 is the open string an octave up.

Octaves and fifthsComing soon

The two shapes every bass line uses.

Best after: Intervals (Fundamentals)

1. The bass octave shapeTwo strings up, two frets up.
2. Root and fifthOne string up, two frets up.
3. Root, fifth, octaveThe three notes in one shape.
4. The fifth belowSame fret, one string down: the chord's fifth under the root.
5. Find the root anywhereFind a named root on any string.

Playing rootsComing soon

A chord symbol tells the bass which note to play first.

Best after: What a chord is (Harmony)

1. Roots of C, F and GPlay the root of each major chord.
2. Roots of minor chordsAm and Em: the root is still the letter.
3. Roots with sharps and flatsB flat, F sharp and E flat roots.
4. Follow a progressionHear I-IV-V and name the root of each chord.
5. Roots in timePlay roots on the beat, quarter notes.

The major scale on bassComing soon

One major shape, and moving it to any key.

Best after: Major keys (Fundamentals)

1. One octave from the E stringA major-scale shape from the fourth string.
2. From the A stringThe same shape one string up.
3. Two octaves on bassExtend the shape across all four strings.
4. Degrees on the neckWhere 1, 3 and 5 sit inside the shape.
5. Major in any key on bassBuild a major scale from any root.

The minor scale on bassComing soon

Natural and harmonic minor shapes.

Best after: The minor scale (Fundamentals), Three minors (Fundamentals)

1. The natural minor shapeA minor from the fifth fret of the E string.
2. Minor from the A stringThe minor shape one string up.
3. Harmonic minor on bassOne fret changes: the raised seventh.
4. Relative keys on bassC major and A minor in the same frets.
5. Minor in any key on bassBuild a minor scale from any root.

Pentatonic bassComing soon

The pentatonic and blues shapes behind countless bass lines.

Best after: Five-note scales (Fundamentals), Three minors (Fundamentals)

1. Minor pentatonic on bassThe five-note minor shape.
2. Major pentatonic on bassThe five-note major shape.
3. The blues scale on bassThe minor pentatonic plus the flat fifth.
4. Moving the pentatonicThe same shape in any key.
5. Pentatonic and rootsWhere the chord's root sits in the shape.

Reading on bassComing soon

The bass clef on the bass, which sounds an octave below what is written.

Best after: The bass clef (Reading)

1. Open strings on the bass staffWhere E, A, D and G are written.
2. First-position notes from the pagePlay what you read in the first frets.
3. Low E and F on the pageThe lowest bass notes, on ledger lines below the staff.
4. Read and play a bass linePlay a short written line.
5. Bass reading in timePlay written notes before time runs out.

Triad arpeggiosComing soon

The notes of a chord, one at a time, under the fingers.

Best after: Four triads (Fundamentals)

1. Major arpeggioRoot, major third, fifth in one shape.
2. Minor arpeggioRoot, minor third, fifth.
3. Diminished and augmented arpeggiosThe two other triads as shapes.
4. Arpeggios in a keyThe seven triads of a major key, on bass.
5. Two-octave arpeggiosEach arpeggio across all four strings.

The bass decidesComing soon

The bass note decides the inversion.

Best after: Inversions (Fundamentals)

1. The third in the bassPlay the third under the chord: first inversion.
2. The fifth in the bassPlay the fifth under the chord: second inversion.
3. Slash chords on bassC/E asks the bass for E.
4. A descending bass lineC, C/B, Am, Am/G: a line that walks down by step.
5. Pedal pointOne bass note held while the chords change above it.

Seventh arpeggiosComing soon

Four-note arpeggios for every seventh chord.

Best after: Seventh chords (Fundamentals)

1. Dominant seventh arpeggioRoot, third, fifth, flat seventh.
2. Major and minor seventh arpeggiosMaj7 and m7 shapes.
3. Half-diminished arpeggioThe m7b5 shape.
4. Arpeggios through ii-V-IThree arpeggios in a row.
5. Chord tones on beat oneLand on a chord tone at every change.

Walking bassComing soon

Quarter-note lines that outline the chords and lead into the next.

Best after: ii-V-I (Harmony)

1. Four to the barSteady quarter notes, one per beat.
2. Chord tones firstRoot on beat one, other chord tones after.
3. Approach notesA half step above or below the next root, on beat four.
4. Walking a bluesA walking line through the twelve-bar blues.
5. Walking a ii-V-IA walking line through ii-V-I.

The four stringsComing soon

G, D, A, E: four strings tuned in fifths.

Best after: Notes (Fundamentals)

1. G, D, A, EThe open strings from the lowest to the highest.
2. Tuned in fifthsEach string is a perfect fifth above the one below.
3. Violin strings by earHear an open string and name it.
4. Open strings on the treble staffD, A and E on the staff; G below it, on two ledger lines.
5. Which string?Find the open string that matches a named note.

Fingers, not fretsComing soon

First position: what each finger plays on a string.

Best after: Intervals (Fundamentals)

1. No fretsThe finger, not a fret, decides the pitch.
2. First fingerA whole step above the open string.
3. High 2 and low 2Second finger: a major or a minor third above the open string.
4. Third fingerA perfect fourth above the open string.
5. Fourth fingerThe same note as the next open string.

The D and A stringsComing soon

Every note in first position on the middle strings.

Best after: Middle C (Reading)

1. D string, first positionD, E, F sharp, G, A.
2. A string, first positionA, B, C sharp, D, E.
3. D major on two stringsThe D major scale on the D and A strings.
4. Read and play on D and APlay what you read on the middle strings.
5. A tune on two stringsRead and play a short melody.

The G and E stringsComing soon

The outer strings, and sharps and flats in first position.

1. G string, first positionG, A, B, C, D.
2. E string, first positionE, F sharp, G sharp, A, B.
3. All four stringsAny note in first position.
4. Read and play on G and EPlay what you read on the outer strings.
5. Sharps and flats in first positionLow and high fingers for altered notes.

Finger patternsComing soon

Which fingers sit close together decides the key.

Best after: The major scale (Fundamentals)

1. High 2Fingers 2 and 3 together: the pattern of D and A major.
2. Low 2Fingers 1 and 2 together: the pattern of C and G on the upper strings.
3. Low 1The first finger a half step above the open string.
4. High 3The third finger a half step higher, for sharps.
5. Pattern from the keyChoose the finger pattern a key signature asks for.

One-octave major scalesComing soon

Major scales in first position.

Best after: Major keys (Fundamentals)

1. D major on violinHigh 2 on both strings.
2. A major on violinHigh 2, from the A string up.
3. G major on violinFrom the open G string.
4. C major on violinLow 2 on the upper strings.
5. F and B-flat major on violinLow 1 for the flats.

Two-octave scalesComing soon

Scales across all four strings in first position.

1. G major, two octavesFrom the open G to the third finger on E.
2. A major, two octavesFrom the first finger on G.
3. B-flat major, two octavesLow fingers all the way up.
4. Crossing stringsWhere each string takes over from the last.
5. Degrees across stringsFind degrees 1, 3 and 5 in a two-octave scale.

Minor scales on violinComing soon

Natural, harmonic and melodic minor in first position.

Best after: Three minors (Fundamentals)

1. A minor on violinNatural minor from the open A.
2. D minor on violinNatural minor from the open D.
3. G minor on violinNatural minor from the open G.
4. Harmonic minor on violinThe raised seventh and its extended finger.
5. Melodic minor on violinRaised 6 and 7 going up.

Arpeggios on violinComing soon

The notes of a chord across the strings.

Best after: Four triads (Fundamentals)

1. G major arpeggioG, B, D across the strings.
2. Minor arpeggios on violinLower the third.
3. Arpeggios across four stringsA two-octave arpeggio from the G string to the E string.
4. Diminished arpeggios on violinStacked minor thirds.
5. Arpeggios of a key on violinThe triads of a major key.

Double stopsComing soon

Two strings at once: playing intervals as harmony.

Best after: Intervals in depth (Fundamentals)

1. Open fifthsTwo open strings together: a perfect fifth.
2. SixthsThe most comfortable double stop.
3. ThirdsTwo fingers a third apart on neighbouring strings.
4. OctavesFirst and fourth fingers on neighbouring strings.
5. Double stops in a keyThirds and sixths within one key.

Third position and shiftingComing soon

Moving the hand up the neck.

1. Third position on AThe first finger where the third was.
2. Third position on every stringThe notes under each finger in third position.
3. Shifting from first to thirdFind the same note in both positions.
4. Second positionThe position between first and third.
5. Choosing a positionPick the position that keeps a phrase on one string.

Chords on violinComing soon

Three- and four-note chords across the strings.

Best after: Inversions (Fundamentals)

1. Three-note chordsA triad across three strings.
2. Four-note chordsChords across all four strings, played broken.
3. Inversions on violinThe bass note on the lowest string decides the inversion.
4. The chords of G major on violinThe I, IV and V chords of G.
5. Seventh chords as double stopsTwo notes that imply a seventh chord.

Your first noteComing soon

Hear a note and sing it back.

1. Hum alongListen to a note and hum it back.
2. Sing it backSing the note on "ah" and see how close you are.
3. Above or belowWas your note higher or lower? Move toward the target.
4. Hold it steadyKeep the note still for two seconds.
5. A new note each timeMatch a different note each round.

In tuneComing soon

Sharp, flat and in tune, from different instruments.

1. Sharp and flatSlightly high is sharp; slightly low is flat.
2. Slide into tuneStart off the note and slide until it locks.
3. From the guitarMatch a note played by a different instrument.
4. Hear once, then singHold the note in your head before you sing.
5. Five in a rowFive notes in tune in a row.

Your rangeComing soon

The lowest and highest notes you can sing, and where your voice sits.

1. Low notesFind the lowest note you can sing comfortably.
2. High notesFind the highest note you can sing comfortably.
3. The middle of your voiceWhere singing feels easiest: your tessitura.
4. Out of reachSing a note an octave away when it is too high or too low.
5. Voice typesSoprano, alto, tenor and bass: four ranges.

Singing stepsComing soon

Sing the note a step above or below the one you hear.

Best after: Intervals (Fundamentals)

1. One step upHear a note, sing the note a whole step above.
2. One step downHear a note, sing the note a whole step below.
3. The half stepSing the note one semitone above.
4. Half or wholeSing the step asked for, half or whole.
5. Steps up and downSteps in both directions, mixed.

Singing thirdsComing soon

Major and minor thirds, up and down.

1. Major third upSing four semitones above the note you hear.
2. Minor third upSing three semitones above.
3. Thirds downMajor and minor thirds below.
4. Which third?Sing the third asked for, major or minor.
5. Third and fifthSing the third or the fifth of a major chord from its root.

Fourths and fifthsComing soon

The perfect intervals, and the tritone between them.

1. Perfect fifth upSing seven semitones above.
2. Perfect fourth upSing five semitones above.
3. Fourths and fifths downThe perfect intervals below.
4. Which perfect interval?Sing the fourth or the fifth asked for.
5. Singing the tritoneSix semitones, without slipping to the fourth or the fifth.

Sixths and seventhsComing soon

The wide intervals, up and down.

1. Major sixth upSing nine semitones above.
2. Minor sixth upSing eight semitones above.
3. Minor seventh upSing ten semitones above.
4. Major seventh upOne semitone below the octave: aim for the octave, then step down.
5. Wide intervals belowSixths and sevenths, descending.

Any intervalComing soon

Every interval, mixed, in both directions.

1. Small intervals mixedSeconds and thirds, any of them.
2. Perfect intervals mixedFourths, fifths and the tritone.
3. Wide intervals mixedSixths and sevenths, any of them.
4. Every interval upAny interval above the note you hear.
5. Every interval, both waysAny interval, up or down.

SolfègeComing soon

Movable do: the same syllables in every key.

Best after: Major keys (Fundamentals)

1. Movable doDo is always the tonic: one set of syllables for every key.
2. Do to solSing the first five degrees from their syllables.
3. The whole scale in syllablesSing up and down the scale from do to do.
4. Do, mi, solSing the leaps of the tonic chord.
5. Ti wants doSing the leading tone and feel it resolve.

Sight-singing in majorComing soon

Read a melody in a major key and sing it.

Best after: Reading a melody (Reading), Eighth notes (Rhythm)

1. Stepwise phrasesMelodies that move only by step.
2. Phrases with skipsMelodies with skips inside the tonic chord.
3. Pitch and rhythm togetherSing the notes in time, with quarters and eighths.
4. Starting on mi or solMelodies that begin on a degree other than do.
5. Bass-clef melodiesSing from the bass clef.
6. Eight-bar melodiesLonger melodies, read and sung in one go.

Sight-singing in minorComing soon

Read a melody in a minor key and sing it.

Best after: Three minors (Fundamentals)

1. Minor syllablesThe syllables for the minor scale.
2. Stepwise minorMinor melodies that move by step.
3. The raised seventh, sungMelodies with the leading tone of harmonic minor.
4. Minor with skipsMinor melodies with skips in the tonic chord.
5. Major and minor mixedRead the key first, then sing.

Chromatic singingComing soon

Notes outside the key, and intervals with no key to lean on.

Best after: Sharps and flats on the staff (Reading)

1. Chromatic stepsSing a scale by half steps.
2. Fi, si, teThe raised and lowered syllables for chromatic notes.
3. Chromatic neighboursMelodies that touch a note a half step outside the key.
4. Melodies that modulatePhrases that move to a new key.
5. Intervals with no keyAny interval from any note, with no key around it.