A Crash Course in Music Theory


From hearing to phrasing to key and chords

Let's experiment some more. We'll begin with simple connections among a few pitches — C, B, and D will do to start. To be sure, the advantage of working with extremely simple things in the beginning is from them we get to draw very solid conclusions. Our sequence So, first, we'll transform C, B, and D into the slightly longer sequence of C, B, C, and D. For convenience, we'll notate our sequence as { C B C D }. For clarity, we'll say sequence means only that pitches occur one after another rather than as a simultaneity....

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