Beginner

EARTRAINING 1: Harmony (in progress)

FROESEMANUEL FROESEMANUEL
Overview
Curriculum

 🟢 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
  1. General Instructions
  2. this quiz is here to wish you good luck
Cadences in Major
3 Quizzes
  1. Minor and Major Triads
  2. T,S,D root position – PAC and IAC cadences
  3. Major half-cadence vs. authentic cadence
Cadences in Minor
3 Quizzes
  1. T,S,D root position in minor cadences
  2. T,S,D root position in minor half-cadence vs. authentic cadence. Identify the position
  3. T,S,D root position in minor: Half-cadence
INTRODUCTION to SIXTH-CHORDS
1 Lesson
  1. Root position vs. Sixth Chords in General
SIXTH-CHORDS in Major
1 Lesson2 Quizzes
  1. Primary Sixth-Chords in Major (comming soon)
  2. SIXTH-CHORDS vs. Root Chords
  3. Sixth-Chords Intervals in Free Context
SIXTH-CHORDS in MINOR
1 Lesson1 Quiz
  1. Primary Sixth-Chords in Minor
  2. Sixth-chords vs. Root Chords
4/6 Cadences
2 Lessons2 Quizzes
  1. Cadencial 4/6 Chord
  2. Cadencial 4/6 Chords in Major
  3. Cadencial 4/6 chords in minor (Model)
  4. Cadencial 4/6 Chords in Minor
MODULATION with MAIN FUNCTIONS
2 Quizzes
  1. Modulation to D vs. S
  2. Modulation to Tp vs. Sp
ASSIGNMENT: CHORD CHART TRANSCRIPTION
DIMINISHED CHORDS
1 Quiz
  1. Diminished chords vs. abbreviated dominant seventh chord vs. diminished 7th chords
MAIN FUNCTIONS in TETRADS
2 Quizzes
  1. Tetrads in Triadic Harmony
  2. Triads in Tetradic Harmony
SECONDARY FUNCTIONS
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Last Updated: June 3, 2025

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Tristan Chords

The examples of the Tristan Chord should be rather called Tristan Voice-Leading. I say this because the most interesting and defining aspect of this passage is the voice leading and how it affects the emancipation of dissonance, not the chord type. Perhaps we should rather consider more the Tristan-Chords: the paar of half-diminished + dominant seventh with lowed fifth?

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