6 LAWS OF IMPROVISATION (e. Froes)

EARTRAINING 1: Harmony (in progress)

🟢 Exclusive pedagogy tested in real life lessons by choir conductor and transcriber for the Yousician App

🟢 Original examples with different instruments gives you an unity according to my composition praxis

🟢 Careful disposition of harmonic material that triggers the inspiration for your first composition exercises

🟢 The course is symmetric to my harmony course: keep theory, practical competence and creativity so close to each other as possible!

Curriculum

12 Sections
6 Lessons
17 Quizzes
0m Duration

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Instructions

1 Lesson1 Quiz

General Instructions
this quiz is here to wish you good luck

Cadences in Major

3 Quizzes

Minor and Major Triads
T,S,D root position – PAC and IAC cadences
Major half-cadence vs. authentic cadence

Cadences in Minor

3 Quizzes

T,S,D root position in minor cadences
T,S,D root position in minor half-cadence vs. authentic cadence. Identify the position
T,S,D root position in minor: Half-cadence

INTRODUCTION to SIXTH-CHORDS

1 Lesson

Root position vs. Sixth Chords in General

SIXTH-CHORDS in Major

1 Lesson2 Quizzes

Primary Sixth-Chords in Major (comming soon)
SIXTH-CHORDS vs. Root Chords
Sixth-Chords Intervals in Free Context

SIXTH-CHORDS in MINOR

1 Lesson1 Quiz

Primary Sixth-Chords in Minor
Sixth-chords vs. Root Chords

4/6 Cadences

2 Lessons2 Quizzes

Cadencial 4/6 Chord
Cadencial 4/6 Chords in Major
Cadencial 4/6 chords in minor (Model)
Cadencial 4/6 Chords in Minor

MODULATION with MAIN FUNCTIONS

2 Quizzes

Modulation to D vs. S
Modulation to Tp vs. Sp

ASSIGNMENT: CHORD CHART TRANSCRIPTION

DIMINISHED CHORDS

1 Quiz

Diminished chords vs. abbreviated dominant seventh chord vs. diminished 7th chords

MAIN FUNCTIONS in TETRADS

2 Quizzes

Tetrads in Triadic Harmony
Triads in Tetradic Harmony

SECONDARY FUNCTIONS

For any successful practice and performance:

1. MEAN-ING : Only hear internally what is felt or thought

2. EAR: Only play what is heard internally

3. SELF-AWERENESS : Only play what a) your finger technique and b) concentration can afford

4. SIGHT-READING: The performance of your technique and concentration is proportional to the quality of your sight-reading skills

5. COMUNICATION: Only play what you can think and feel accordingly to one of the principles of musical form.

6. TASTE : The quality of what you have to say is proportional to the quality of how you a) perceive, b) experience and c) understand what others said