Table of Contents
- 1 - Introduction
- 2 - How to Use This Book
- 3 - Chapter Video
- 4 - Theory and Harmony
- 5 - Naming Intervals
- 6 - Enharmonic Intervals
- 7 - The Circle of 5ths
- 8 - Chords and Their Formulas
- 9 - Major Scale (Triads and Sevenths)
- 10 - Major Scale Modal Sounds
- 11 - The Lydian Mode
- 12 - Major Scale Mode Recap
- 13 - Building Diatonic Triads
- 14 - Natural Minor Scale
- 15 - Natural Minor (Aeolian) Lecture
- 16 - Melodic Minor
- 17 - Melodic Minor Modal Sounds
- 18 - Dorian b2 Composition
- 19 - Altered Dominant Voicings and Lines
- 20 - Harmonic Minor
- 21 - Harmonic Minor Modal Sounds
- 22 - The Phrygian Major Mode
- 23 - The Sounds of Minor (A Linear Study of Modal Interchange)
- 24 - Harmonic Major
- 25 - Harmonic Major Modal Sounds
- 26 - Double Harmonic Major
- 27 - Double Harmonic Major Modal Sounds
- 28 - More About Seventh Chords
- 29 - Relative Major/Minor
- 30 - Chords for Songwriters
- 31 - Chords for Songwriters (2)
- 32 - Modal Interchange Lecture
- 33 - Modal Mixture for Songwriters
- 34 - Modal Interchange Sounds For Composing
- 35 - Basic Triads
- 36 - Advanced Triads
- 37 - Musical Gravity Modal Demonstration
- 38 - Suspended Triads and Other Three Note Structures
- 39 - Suspended Triads and Other Three Note Structures (2)
- 40 - Chord Scales
- 41 - Chord Scales (2)
- 42 - Tonic and Dominant Diminished Scales
- 43 - Chord Families and Their Scales
- 44 - Chord Families and Their Scales (2)
- 45 - Scale Degree Names and Basic Progressions
- 46 - Basic Progressions
- 47 - Basic Progressions (2)
- 48 - Pre-dominant - Dominant - Tonic Lesson
- 49 - Cadences
- 50 - Authentic & Plagal Cadences
- 51 - More About Roman Numeral Analysis
- 52 - More About Roman Numeral Analysis (2)
- 53 - Neapolitan 6th Chord Progression
- 54 - Sus4 Resolutions
- 55 - Cycle of Fifths and Backcycling
- 56 - Roman Numeral Analysis and Chord Scale Choice
- 57 - Basic Rules for Chord Substitutions
- 58 - Basic Rules (2)
- 59 - Basic Rules (3)
- 60 - Basic Rules (4)
- 61 - Basic Rules (5)
- 62 - Basic Rules (6)
- 63 - Basic Rules (7)
- 64 - Basic Rules (8)
- 65 - Basic Rules (9)
- 66 - Basic Rules (10)
- 67 - Basic Rules (11)
- 68 - Basic Rules (12)
- 69 - Basic Rules (13)
- 70 - Multi-Functional Harmony
- 71 - Triads Over Bass Notes
- 72 - Polychords
- 73 - Chromatic Polychords
- 74 - Triads and Seventh Chords Over Bass Notes and Polychords
- 75 - Triads and Seventh Chords Over Bass Notes and Polychords (2)
- 76 - Triads and Seventh Chords Over Bass Notes and Polychords (3)
- 77 - Triads and Seventh Chords Over Bass Notes and Polychords (4)
- 78 - Reharmonization and Chord Substitutions
- 79 - Advanced Reharmonizations
- 80 - Advanced Reharmonizations (2)
- 81 - Advanced Reharmonizations (3)
- 82 - Advanced Reharmonizations (4)
- 83 - Advanced Reharmonizations (5)
- 84 - Advanced Reharmonizations (6)
- 85 - Advanced Reharmonizations (7)
- 86 - Advanced Reharmonizations (8)
- 87 - Advanced Reharmonizations (9)
- 88 - Advanced Reharmonizations (10)
- 89 - Advanced Reharmonizations (11)
- 90 - Reharmonization of Standard Forms
- 91 - Common Tone Reharmonization
- 92 - Common Tone Reharmonization (2)
- 93 - Modal Harmony and Theory
- 94 - Sharp and Flat Direction Modal Modulation
- 95 - Sharp and Flat Direction Modal Modulation (2)
- 96 - Sharp and Flat Direction Modal Modulation (3)
- 97 - Sharp and Flat Direction Modal Modulation (4)
- 98 - Sharp and Flat Direction Modal Modulation (5)
- 99 - Resolution Tendencies Between Modal Groups
- 100 - Voice Leading
- 101 - Voice Leading (2)
- 102 - Mirror Modal Equivalents
- 103 - Mirror Modal Equivalents (2)
- 104 - Mirror Modal Equivalents (3)
- 105 - Mirror Modal Equivalents (4)
- 106 - Composing With Only White Notes
- 107 - Using Multiple Compositional Techniques
- 108 - 3 Chord Film Scoring
- 109 - Chapter Video
- 110 - Chord Forms
- 111 - Major Triads
- 112 - Minor Triads
- 113 - Diminished Triads
- 114 - Augmented Triads
- 115 - Sus4 Triads
- 116 - Sus2 Triads
- 117 - Sus4b5 Triads
- 118 - Lydian Triads
- 119 - Phrygian Triads
- 120 - Locrian Triads
- 121 - Drop Voicings
- 122 - Drop 2 (Maj6)
- 123 - Drop 2 (Maj7)
- 124 - Drop 2 (Dom7)
- 125 - Drop 2 (Min7)
- 126 - Drop 2 (Min6)
- 127 - Drop 2 (MinMaj7)
- 128 - Drop 2 (Min7b5)
- 129 - Drop 2 (Dim7)
- 130 - Drop 2 (DimMaj7)
- 131 - Drop 2 (AugMaj7)
- 132 - Drop 2 (Aug7)
- 133 - Drop 2 (Maj7b5)
- 134 - Drop 2 (Dom7b5)
- 135 - Drop 2 (Maj7sus4)
- 136 - Drop 2 (Dom7sus4)
- 137 - Drop 2 (Lydian Maj7)
- 138 - Drop 2 (Lydian Dom7)
- 139 - Drop 2 (DimMaj7b13)
- 140 - Drop 3 (Maj6)
- 141 - Drop 3 (Maj7)
- 142 - Drop 3 (Dom7)
- 143 - Drop 3 (Min6)
- 144 - Drop 3 (Min7)
- 145 - Drop 3 (MinMaj7)
- 146 - Drop 3 (Min7b5)
- 147 - Drop 3 (Dim7)
- 148 - Drop 3 (DimMaj7)
- 149 - Drop 3 (AugMaj7)
- 150 - Drop 3 (Aug7)
- 151 - Drop 3 (Maj7b5)
- 152 - Drop 3 (Dom7b5)
- 153 - Drop 3 (Maj7sus4)
- 154 - Drop 3 (Dom7sus4)
- 155 - Drop 3 (Lydian Maj7)
- 156 - Drop 3 (Lydian Dom7)
- 157 - Drop 3 (DimMaj7b13)
- 158 - Drop 2 + 3 (Maj6)
- 159 - Drop 2 + 3 (Maj7)
- 160 - Drop 2 + 3 (Dom7)
- 161 - Drop 2 + 3 (Min6)
- 162 - Drop 2 + 3 (Min7)
- 163 - Drop 2 + 3 (MinMaj7)
- 164 - Drop 2 + 3 (Min7b5)
- 165 - Drop 2 + 3 (Dim7)
- 166 - Drop 2 + 3 (DimMaj7)
- 167 - Drop 2 + 3 (AugMaj7)
- 168 - Drop 2 + 3 (Aug7)
- 169 - Drop 2 + 3 (Maj7b5)
- 170 - Drop 2 + 3 (Dom7b5)
- 171 - Drop 2 + 3 (Maj7sus4)
- 172 - Drop 2 + 3 (Dom7sus4)
- 173 - Drop 2 + 3 (Lydian Maj7)
- 174 - Drop 2 + 3 (Lydian Dom7)
- 175 - Drop 2 + 3 (DimMaj7b13)
- 176 - Drop 2 + 4 (Maj6)
- 177 - Drop 2 + 4 (Maj7)
- 178 - Drop 2 + 4 (Dom7)
- 179 - Drop 2 + 4 (Min6)
- 180 - Drop 2 + 4 (Min7)
- 181 - Drop 2 + 4 (MinMaj7)
- 182 - Drop 2 + 4 (Min7b5)
- 183 - Drop 2 + 4 (Dim7)
- 184 - Drop 2 + 4 (DimMaj7)
- 185 - Drop 2 + 4 (AugMaj7)
- 186 - Drop 2 + 4 (Aug7)
- 187 - Drop 2 + 4 (Maj7b5)
- 188 - Drop 2 + 4 (Dom7b5)
- 189 - Drop 2 + 4 (Maj7sus4)
- 190 - Drop 2 + 4 (Dom7sus4)
- 191 - Drop 2 + 4 (Lydian Maj7)
- 192 - Drop 2 + 4 (Lydian Dom7)
- 193 - Drop 2 + 4 (DimMaj7b13)
- 194 - Triads Over Bass Notes
- 195 - Maj∆/7
- 196 - Maj∆/b7
- 197 - Maj∆/6
- 198 - Maj∆/#5
- 199 - Maj∆/5
- 200 - Maj∆/#4
- 201 - Maj∆/4
- 202 - Maj∆/3
- 203 - Maj∆/b3
- 204 - Maj∆/9
- 205 - Maj∆/b9
- 206 - Min∆/7
- 207 - Min∆/b7
- 208 - Min∆/6
- 209 - Min∆/b6
- 210 - Min∆/5
- 211 - Min∆/#4
- 212 - Min∆/4
- 213 - Min∆/3
- 214 - Min∆/b3
- 215 - Min∆/9
- 216 - Min∆/b9
- 217 - Sus4∆/7
- 218 - Sus4∆/b7
- 219 - Sus4∆/6
- 220 - Sus4∆/b6
- 221 - Sus4∆/5
- 222 - Sus4∆/#4
- 223 - Sus4∆/4
- 224 - Sus4∆/3
- 225 - Sus4∆/b3
- 226 - Sus4∆/9
- 227 - Sus4∆/b9
- 228 - Spread Triads Over Bass Notes
- 229 - Major Type Spread Triads/Bass Notes
- 230 - Major Type Spread Triads/Bass Notes (2)
- 231 - Major Type Spread Triads/Bass Notes (3)
- 232 - Major Type Spread Triads/Bass Notes (4)
- 233 - Major Type Spread Triads/Bass Notes (5)
- 234 - Minor Type Spread Triads/Bass Notes
- 235 - Minor Type Spread Triads/Bass Notes (2)
- 236 - Minor Type Spread Triads/Bass Notes (3)
- 237 - Minor Type Spread Triads/Bass Notes (4)
- 238 - Minor Type Spread Triads/Bass Notes (5)
- 239 - Minor Type Spread Triads/Bass Notes (6)
- 240 - Dom7 Type Spread Triads/Bass Notes
- 241 - Dom7 Type Spread Triads/Bass Notes (2)
- 242 - Dom7 Type Spread Triads/Bass Notes (3)
- 243 - Dom7 Type Spread Triads/Bass Notes (4)
- 244 - Dom7 Type Spread Triads/Bass Notes (5)
- 245 - Dom7 Type Spread Triads/Bass Notes (6)
- 246 - Dom7 Type Spread Triads/Bass Notes (7)
- 247 - Dom7 Type Spread Triads/Bass Notes (8)
- 248 - Dom7 Type Spread Triads/Bass Notes (9)
- 249 - Dom7 Type Spread Triads/Bass Notes (10)
- 250 - Dom7 Type Spread Triads/Bass Notes (11)
- 251 - Dom7 Type Spread Triads/Bass Notes (12)
- 252 - Diminished Type Spread Triads/Bass Notes
- 253 - Diminished Type Spread Triads/Bass Notes (2)
- 254 - Diminished Type Spread Triads/Bass Notes (3)
- 255 - Diminished Type Spread Triads/Bass Notes (4)
- 256 - Twelve-Tone Type Spread Triads Over Bass Notes Lecture
- 257 - Twelve Tone Type Spread Triads/Bass Notes
- 258 - Twelve Tone Type Spread Triads/Bass Notes (2)
- 259 - Quartal Voicings
- 260 - 3-Part Quartal Voicings - Major Scale
- 261 - 3-Part Quartal Voicings - Major Scale (2)
- 262 - 4-Part Quartal Voicings - Major Scale
- 263 - 4-Part Quartal Voicings - Major Scale (2)
- 264 - 5-Part Quartal Voicings - Major Scale
- 265 - 6-Part Quartal Voicings - Major Scale
- 266 - 3-Part Quartal Voicings - Melodic Minor Scale
- 267 - 3-Part Quartal Voicings - Melodic Minor Scale (2)
- 268 - 4-Part Quartal Voicings - Melodic Minor Scale
- 269 - 4-Part Quartal Voicings - Melodic Minor Scale (2)
- 270 - 5-Part Quartal Voicings - Melodic Minor Scale
- 271 - 6-Part Quartal Voicings - Melodic Minor Scale
- 272 - 3-Part Quartal Voicings - Harmonic Minor Scale
- 273 - 3-Part Quartal Voicings - Harmonic Minor Scale (2)
- 274 - 4-Part Quartal Voicings - Harmonic Minor Scale
- 275 - 4-Part Quartal Voicings - Harmonic Minor Scale (2)
- 276 - 5-Part Quartal Voicings - Harmonic Minor Scale
- 277 - 6-Part Quartal Voicings - Harmonic Minor Scale
- 278 - Skipped String Voicings
- 279 - Major Skipped String Voicings
- 280 - Melodic Minor Skipped String Voicings
- 281 - Dominant Diminished Skipped String Voicings
- 282 - F Blues Example
- 283 - Open String Voicings Lecture
- 284 - Open String Voicings
- 285 - Open String Voicings (2)
- 286 - Open String Voicings (3)
- 287 - Open String Voicings (4)
- 288 - Open String Voicings (5)
- 289 - Open String Voicings (6)
- 290 - Open String Voicings (7)
- 291 - Open String Voicings (8)
- 292 - Open String Voicings (9)
- 293 - Open String Voicings (10)
- 294 - Open String Voicings (11)
- 295 - Open String Voicings (12)
- 296 - Open String Voicings (13)
- 297 - Open String Voicings (14)
- 298 - Open String Voicings (15)
- 299 - Polychords Lecture
- 300 - Polychords
- 301 - Polychords (2)
- 302 - Polychords (3)
- 303 - Polychords (4)
- 304 - Using Comping Voicings in New Ways
- 305 - Constructing Chord Scales
- 306 - Chordal Scales
- 307 - Chordal Scales (2)
- 308 - Chordal Scales (3)
- 309 - Chordal Scales (4)
- 310 - Chordal Scales (5)
- 311 - Chordal Scales (6)
- 312 - Chordal Scales (7)
- 313 - Chordal Scales (8)
- 314 - Chordal Scales (9)
- 315 - Chordal Scales (10)
- 316 - Chordal Scales (11)
- 317 - Diminished Scale Voicings Lecture
- 318 - Diminished Scale Voicings
- 319 - Dim7 Type comping voicings
- 320 - Dim7 Type comping voicings (2)
- 321 - Dim7 Type comping voicings (3)
- 322 - Dim7 Type comping voicings (4)
- 323 - Dim7 Type comping voicings (5)
- 324 - Dim7 Type comping voicings (6)
- 325 - Stretch Voicings
- 326 - Stretch Voicings (2)
- 327 - Stretch Voicings (3)
- 328 - Stretch Voicings (4)
- 329 - Stretch Voicings (5)
- 330 - Stretch Voicings (6)
- 331 - Chordal Lines
- 332 - Chordal Lines (2)
- 333 - Chapter Video
- 334 - Mode (Scale) Practice
- 335 - Triads
- 336 - Triads (2)
- 337 - Modes of the Major Scale
- 338 - Modes of the Melodic Minor Scale
- 339 - Modes of the Harmonic Minor Scale
- 340 - Messian Modes
- 341 - Miscellaneous Scales
- 342 - Blues and Pentatonic Scales
- 343 - Blues and Pentatonic Scales (2)
- 344 - Blues and Pentatonic Scales (3)
- 345 - Blues and Pentatonic Scales (4)
- 346 - Close Position Fingerings
- 347 - Major Scale (Close Position)
- 348 - Melodic Minor (Close Position)
- 349 - Harmonic Minor (Close Position)
- 350 - Scales with Two Notes per String
- 351 - Major Scale Modes (2 notes per string)
- 352 - Melodic Minor Modes (2 notes per string)
- 353 - Harmonic Minor Modes (2 notes per string)
- 354 - Examples of Extended Range Scale Fingerings
- 355 - Diatonic Intervals
- 356 - Diatonic Arpeggios
- 357 - Diatonic Arpeggios (2)
- 358 - Spread Triad Arpeggios Introduction
- 359 - Bitonal Spread Triad Exercise
- 360 - Practicing Dominant 7th Arpeggios
- 361 - Practicing Dominant 7th Arpeggios Chart
- 362 - Seventh Chord Arpeggios
- 363 - Triads and Suspensions
- 364 - Using Triads and Pedal Point
- 365 - Seventh Chord Arpeggios (Root 6)
- 366 - Seventh Chord Arpeggios (Root 6) (2)
- 367 - Seventh Chord Arpeggios (Root 6) (3)
- 368 - Seventh Chord Arpeggios (Root 6) (4)
- 369 - Seventh Chord Arpeggios (Root 6) (5)
- 370 - Triads (Root 6)
- 371 - Triads (Root 6) (2)
- 372 - Triads (Root 6) (3)
- 373 - Seventh Chord Arpeggios (Root 5)
- 374 - Seventh Chord Arpeggios (Root 5) (2)
- 375 - Seventh Chord Arpeggios (Root 5) (3)
- 376 - Seventh Chord Arpeggios (Root 5) (4)
- 377 - Seventh Chord Arpeggios (Root 5) (5)
- 378 - Triads (Root 5)
- 379 - Triads (Root 5) (2)
- 380 - Triads (Root 5) (3)
- 381 - Bitonal Arpeggios
- 382 - Major and Minor Bitonal Arpeggios
- 383 - Major Bitonal Arpeggios
- 384 - Major Bitonal Arpeggios (2)
- 385 - Tritone Triads
- 386 - Major Bitonal Arpeggios (3)
- 387 - Minor Bitonal Arpeggios
- 388 - Minor Bitonal Arpeggios (2)
- 389 - Minor Bitonal Arpeggios (3)
- 390 - Diminished Bitonal Arpeggios
- 391 - Diminished Bitonal Arpeggios (2)
- 392 - Diminished Bitonal Arpeggios (3)
- 393 - Augmented Bitonal Arpeggios
- 394 - Augmented Bitonal Arpeggios (2)
- 395 - Augmented Bitonal Arpeggios (3)
- 396 - More About Practicing Scales and Arpeggios
- 397 - Chapter Video
- 398 - ii-V-I Progressions
- 399 - ii-V's in One Measure
- 400 - ii-V's in One Measure (2)
- 401 - One Measure ii-V-i's in Major
- 402 - One Measure ii-V-i's in Major (2)
- 403 - One Measure ii-V-i's in Major (3)
- 404 - One Measure ii-V-i's in Minor
- 405 - One Measure ii-V-i's in Minor (2)
- 406 - ii-V-I Substitute Patterns
- 407 - Turnarounds
- 408 - Imaj7-VI7-ii7-V7 Exercise
- 409 - Imaj7-VI7-ii7-V7 Exercise Video
- 410 - Turnarounds Over 4 Measures
- 411 - Turnarounds Over 4 Measures (2)
- 412 - Turnaround Substitutions
- 413 - Cycle of Fifths
- 414 - Cycle of Fifths (2)
- 415 - Pentatonic Scales
- 416 - Pentatonic Scales (2)
- 417 - Melodic Minor Pentatonics
- 418 - Triadic Superimposition
- 419 - Triadic Superimposition Charts
- 420 - Triadic Superimposition Chart (2)
- 421 - Triadic Improvisation
- 422 - Seventh Chord Superimposition
- 423 - Seventh Chord Superimposition Chart
- 424 - Seventh Chord Superimposition Chart (2)
- 425 - Seventh Chord Superimposition Chart (3)
- 426 - Seventh Chord Superimposition Chart (4)
- 427 - Hybrid Arpeggios
- 428 - Hybrid Arpeggios Charts
- 429 - Hybrid Arpeggios Charts (2)
- 430 - Playing Over Unusual Resolutions
- 431 - Playing Over Unusual Resolutions (2)
- 432 - Playing Over Unusual Resolutions (3)
- 433 - Melodic Ideas
- 434 - Melodic Ideas (2)
- 435 - Melodic Ideas in Natural Minor
- 436 - Major Scale Impressions Video
- 437 - Major Scale Impressions
- 438 - Major Scale Impressions (2)
- 439 - Major Scale Impressions (3)
- 440 - Major Scale Impressions (4)
- 441 - Modes: Linear Approach
- 442 - Modal Lines
- 443 - Modal Lines (2)
- 444 - Modal Lines (3)
- 445 - Modal Lines (4)
- 446 - Modal Lines (5)
- 447 - Modal Lines (6)
- 448 - Blues Sounds
- 449 - Blues Sounds (2)
- 450 - Diminished Sounds
- 451 - Diminished Sounds (2)
- 452 - Diminished Sounds (3)
- 453 - Whole Tone Lines
- 454 - Modal Mixture
- 455 - Modal Mixture (2)
- 456 - Using One Interval Set Over Many Chords
- 457 - Using One Interval Set Over Many Chords (2)
- 458 - Using One Interval Set Over Many Chords (3)
- 459 - Outside Playing Over One Chord
- 460 - Outside Playing Over One Chord (2)
- 461 - Chromaticism and Twelve-Tone Applications
- 462 - Chromaticism and Twelve-Tone Applications (2)
- 463 - Chromaticism and Twelve-Tone Applications (3)
- 464 - Chromaticism and Twelve-Tone Applications (4)
- 465 - Twelve-Tone Triadic Formulas
- 466 - Twelve-Tone Triadic Formulas (2)
- 467 - Twelve-Tone Formulas Using Seventh Chords
- 468 - Non-Tertian Twelve-Tone Rows
- 469 - Non-Systematic Row
- 470 - Twelve-Tone Triad Etude
- 471 - Modal Shapes
- 472 - Modal Shapes (2)
- 473 - Tonic and Dominant Diminished Scale Shapes
- 474 - Tonic and Dominant Diminished Scale Shapes (2)
- 475 - Unorthodox Left Hand Techniques
- 476 - Modern Linear Examples
- 477 - Modern Linear Examples (2)
- 478 - Neo Classical Spread Triads
- 479 - Pedal Point Soloing
- 480 - Studies/Improvisations
- 481 - Studies/Improvisations (2)
- 482 - Studies/Improvisations (3)
- 483 - Studies/Improvisations (4)
- 484 - Studies/Improvisations (5)
- 485 - Studies/Improvisations (6)
- 486 - Studies/Improvisations (7)
- 487 - Studies/Improvisations (8)
- 488 - Studies/Improvisations (9)
- 489 - Studies/Improvisations (10)
- 490 - Studies/Improvisations (11)
- 491 - Studies/Improvisations (12)
- 492 - Chapter Video
- 493 - Bass Lines
- 494 - Bass Lines (2)
- 495 - Bass Lines (3)
- 496 - Pedal Points
- 497 - Rhythm Changes Bassline
- 498 - Rhythm Changes Bassline (2)
- 499 - Walking Bassline
- 500 - Comping Rhythms
- 501 - Solos Over Standard Forms
- 502 - Solo No. 1
- 503 - Solo No. 2
- 504 - Solo No. 3
- 505 - Blues Solo
- 506 - Rhythm Changes Solo
- 507 - Modern Approach to Rhythm Changes
- 508 - Practicing
- 509 - Practicing (2)
- 510 - Practicing (3)
