Lesson 1: Triplets and Swing vs. Straight Eighths

• Eighth and Quarter Note Triplets - Theory / Notation
• Eighth Note Triplets as Basis for Swing Eighths
• Swing Eighths vs. Straight Eighths - Musical Application

Lesson 2: Open Position Chords/Drop 2 Voicings

• The II V I Progression in Two Positions of Drop 2
• Extended Progressions Using Alternating Positions
• Variations on the V7 Chord

Lesson 3: I VI II V I Progression; Root Motion/Bass Lines

• The I VI II V I Chord Pattern
• Voice Leading the I VI II V I Chord Pattern
• Root Motion and the Bass Line

Lesson 4: Modal Scales

• Lydian and Mixolydian - Comparison to Major
• Dorian, Aeolian, Phrygian - Comparison to Natural Minor
• Writing Modal Melodies

Lesson 5: Chord Scales in Major Keys

• Chord Scales as Chord Tones Plus Passing Tones from Key
• Theory of Avoid Notes
• Writing/Analyzing Melodies Using Chord Scales

Lesson 6: Approach Note Theory

• Theory of Diatonic and Chromatic Approach Notes
• Writing/Analyzing Melodies Using Approach Notes
• Ear Training

Lesson 7: Diatonic Chords in Natural/Melodic Minors

• Construction of Diatonic Chords in Melodic Minor
• Construction of Diatonic Chords in Natural Minor
• Recognition/Analysis/Ear Training

Lesson 8: II V I and I VI II V I in Minor - Mixing and Matching Scale Types

• Theory of Minor Scale Type on Each Chord
• Application of Theory in Variety of Keys
• Recognition/Analysis/Ear Training

Lesson 9: Sixteenth Notes

• The Sixteenth Note
• Sixteenth-Note Anticipations
• Double-Time Feel

Lesson 10: Pentatonic Scales

• Constructing Pentatonic Scales
• Fitting Pentatonic Scales over Chords
• Writing Pentatonic Scale Melodies

Lesson 11: Slash Chords

• The Dominant (sus4) as Slash Chord
• Other Chord Types Written as Slash Chords
• Recognition/Analysis/Ear Training

Lesson 12: Bass Pedals

• The Tonic Pedal - Common Applications
• The Dominant Pedal - Common Applications
• Recognition/Analysis/Ear Training

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