Courses
A course is an order: the lessons come in the sequence in which one thing explains the next. Each lesson says what to notice, composes the site's topics, asks for a task on the instrument and, where there is something to hear, an ear practice that counts towards completion. The syllabus is public; the lessons are part of the subscription.
- Analysing a song
Reading a whole song, and not only its chords: analysis by degree, the melody notes that do not belong to the chord, how fast the harmony changes, and the form in which the sections are arranged.
- Chords beyond the triad
What a chord symbol can carry after the letter and the quality: the tritone that moves everything, suspended and sixth chords, the extensions, altered dominants, diminished chords, and the transposition that lets you play any of them in any key.
- Colour and change
The third harmony course for people who play. What lies beyond the major field — the minor key and its three fields, borrowed chords, tritone substitution, modulation — and the two families of scale you improvise over all of it with.
- Ear and genres
The fourth course of harmony for players: first the ear — intervals, chord qualities and degrees; then the three repertoires this harmony lives in, bossa nova, choro, and the modulation both of them use.
- First steps in theory
For anyone who has never studied theory. From the names of the notes and counting time to the seven chords of a key, with a keyboard (real or on screen) as the ruler and ear practice wherever there is something to hear.
- Functional harmony for people who play
The sequel to "Harmony for people who play". From the harmonic field to the formulas popular music repeats — functions, cadences, II–V–I, secondary dominants and the turnaround — with the instrument in your hands and a real chart at every step.
- Harmony for people who play
From the names of the notes to the harmonic field, in the order in which one thing explains the next, with the instrument in your hands and ear practice at every step that has something to hear.
- Reading music
Reading a score from nothing, in two halves. Pitch on the staff, starting from middle C; and time, from note values to the bar, from ties and rests to tempo and syncopation, counting out loud at every step.
- Writing and analysis
The formal track's course: voice leading, figured bass, four-part writing, species counterpoint and the pedal point, in the order the tradition teaches them, with writing exercises in every lesson.
