Theory 02 Level 2 Workbook Completed V3

Level 2.
Introduction to
Harmony & Rhythm
Day 1
What are Chords?
Music Theory Bootcamp | LEvel 2

What are chords?
Triadic and dyadic harmony
Notes Dyads Triads

TRIADS
Triads (C and Dm)

Dm = D F A
C D E F G A B C
C=CEG
Formula
Take a note - skip a note - take a note - skip a note
Assignment (E? F?)
C D E F G A B C D E F G A B C
min maj
E F
G A
B C
Assignment (remaining chords)
maj min dim
G A B
B C D
D E F

Dyads
Notes Name Abbr.
C-D Major second/whole step/tone M2
C-E Major third M3
C-F Perfect fourth P4
C-G Perfect fifth P5
C-A Major sixth M6
C-B Major seventh M7
C-C Octave P8
Assignment (6ths)
A B C D E F G A B C D E F G A
Assignment (3rds)
E F G A B C D E F G A B C D E

practical assignments on guitar
Assignment 1
Triads (guitar)
C Dm Em F G A Bdim C
Compose with ‘D’ drone

Assignment 2
Dyads (guitar)
3rds
maj min min maj maj min min maj min min
6ths
maj min min maj maj min maj maj min min maj
Compose with ‘A’ drone

Day 2
Diatonic Scale Degrees
Chord Nomenclature
Intro to the Numbers System

Day 2
Diatonic scale degrees, chord nomenclature, and
an intro to the numbers system
Diatonic = scale degrees
Theory
C D E F G A B
E F G A B C D
G A B C D E F
Chord name
C Dm Em F G Am Bdim /symbol
Numbers system
I IIm IIIm IV V VIm VIIdim

/Roman Numeral

Assignment 1
3 ways of playing triads on the guitar
(Practice saying chord names and numbers)
C Dm Em F G Am Bdim C
I IIm IIIm IV V VIm VIIdim I

ASSIGNMENT 2
Come up with original progressions:
i - iiim IIm iv vim - v

Day 3
The Numbers System (continued)

The numbers system
Review
Review of theory:
C Dm Em F G A B C
Review of chord voicings

Open-Position chords
In the key of C major
Means Dm

Assignment 1
Chords to numbers
Am F G C
1)
VIm IV V I
Am Am F G
2)
IVm IVm IV V
Am G Bdim C F
3)
VIm V VIIdim I IV

Assignment 2
Numbers to chords
VIm IV V V
1)
Am F G G
I IV V I
2)
C F G C
I V VIm IV IIIm IIm I

3)
C G Am F Em Dm C

Assignment 3
Additional suggestions
Learn chords in different positions
2. Transcribe songs in C (“Let It Be”, “Have You Ever Seen The Rain”, “Girls
Like You”, “King Of My Heart”)
3. Write more original progressions

Day 4
Applying Triads to the Guitar

Sus2 and sus4
Review of open-position chords
Theory
Cmaj = C E G
1 3 5
C D E F G A B C
1 2 3 4 5
Csus2 = C D G
Csus4 = C F G
Cmaj 1 2 5 1 4 5

GUitar voicings
Sus2/add9 and sus4

Assignments
Assignment 1
Create an original chord progression in
C major using your new suspended chord shapes.
Assignment 2
Experiment with different ways
to play the triads you’ve learned so far.

Day 5
Intro to Seventh Chords

Intro to seventh chords
Dyads Triads Seventh chords

2 notes 3 notes 4 notes
C D E F G A B C
1 3 5 7
Common in jazz, not so common in popular music
C major 7th C dominant 7th C minor 7th
B
7
B
Bb
b7
B
Bb
b7
G
5
G
G
5
G
G
5
E
3
E
E
3
E
Eb
3
C 1 C C 1 C C 1

Assignment 1
Basic 7th chords on guitar
6th-string root
Cmaj7 C7 Cm7
X X X X X
8fr. 1 2 8fr. 1 1 1 8fr. 2 3 3 3
3 4 2
5th-string root
Cmaj7 C7 Cm7
X X X X X X
3fr. 1 3fr. 1 1 3fr. 1 1
2 2
3 4 3 4 3

Assignment 2
Case studies
Case Study 1: (“Valerie” - Amy Winehouse)
Case Study 2: (“Sex Machine” - James Brown)
Case Study 3: (“Happy” - Pharrell Williams)

Assignment 3
Additional suggestions:
Find minor 7th, major 7th, and dominant 7th chords in other song
Transcribe songs that have 7th chords (“Under the Bridge” - RHCP
Create an original progression using 7th chords

Day 6
Changing Keys and
Finding Tonalities

Changing keys and finding tonalities
C Major
C D E F G A B C
W W H W W W H
C D E F GA B C
12-tone equal temperament has 12 keys (and 12 different major scales)
12 different notes

F Major and G Major (1 change)
F Major
F G A Bb C D E F
W W H W W W H
Bb
F GA CD E F
G Major
G A B C D E F# G
W W H W W W H
F#
GA B CD E G

Summary
C major: C D E F G A B C
F major: F G A Bb C D E F
G major: G A B C D E F# G
Solfege: do re mi fa sol la ti do
Roman numerals: I II III IV V VI VII I
Scale-tone triads: I IIm IIIm IV V VIm VIIdim I

Assignment 1
Converting roman numerals
Professional musicians can easily transpose to any key
Example 1
Roman numerals: I V IIIm IIm
C major chords: C G Em Dm
F major chords: F C Am Gm
G major chords: G D Bm Am
Example 2
Roman numerals: I IIm IV VIm
C major chords: C Dm F Am
F major chords: F Gm Bb Dm
G major chords: G Am C Em

Assignment 2
Converting chords (figure out the key first)
Example 1
Key = G major
D C G G
V IV I I
Example 2
Key = G major
Verse:
G G C D
I I IV V
Pre-chorus:
Em D C G
VIm V IV I
Chorus:
Em G Em G
VIm I VIm I
Em D
VIm V

Example 3
Key = C major
Verse:
C Em Am F
I IIm VIm IV
Pre-chorus:
F G Am F G Am
IV V VIm IV V VIm
Chorus:
F G C Am F G Am
IV V I VIm IV V VIm
Example 4
Key = F major
Verse/main theme:
F Am Dm Bb F C
I IIIm VIm IV I V
Bb C F Gm F C F
IV V I IIm I V I

Assignment 3
Practice playing along to the following songs
Example 1
“Sweet Home Alabama” by Lynyrd Skynyrd in G

https://www.youtube.com/watch?v=5MhOZt5-Jl8
Example 2
“Good Riddance (Time of Your Life)” by Green Day in G
https://www.youtube.com/watch?v=CnQ8N1KacJc
Example 3
“Love Someone” by Lukas Graham in C
https://www.youtube.com/watch?v=dN44xpHjNxE
Example 4
“Can’t Help Falling in Love With You” by Elvis Presley in F (original key = D)
https://www.youtube.com/watch?v=vGJTaP6anOU

Day 7
Common Chord Progressions

Common chord progressions
Case studies
Copyright: lyrics and melody, NOT chords!
Pop example
(I, V, VIm, IV) “The 4 Chord Song” – The Axis of Awesome
Blues example
(I, IV ,V blues) “I Feel Good” – James Brown
Punk example
(Im, bVI△, Im/V, V7) “All Torn Down” – The Living End
Neo-soul example
(IIm9, IIm9/V, VIm, bIII13) “Brown Sugar” – D’Angleo
R&B example
(IIIm, IIm) and (IV, IIIm, IIm) “Doo-Wop (That Thing)” – Lauryn Hill
Rock example
(I, V, VIm, IIIm, IV, I, V) “Basket Case” – Green Day (Slight variation on “Pachelbel's Canon”)

Assignment 1
Convert roman numerals to chords
Pop example
Roman numerals: I V VIm IV
C major chords: C G Am F
F major chords: F C Dm Bb
G major chords: G D Em C
Blues example
Roman numerals: I7 IV7 V7
C major chords: C7 F7 G7
F major chords: F7 Bb7 C7
G major chords: G7 C7 D7
Punk example
Roman numerals: Im bVI△ Im/V V
C minor chords: Cm Abmaj7 Cm/G G
F minor chords: Fm Dbmaj7 Fm/C C
G minor chords: Gm Ebmaj7 Gm/D D

Neo-soul example
Roman numerals: IIm9 IIm9/V VIm bIII13
C major chords: Dm9 Dm9/G Am Eb13
F major chords: Gm9 Gm9/C Dm Ab13
G major chords: Am9 Am9/D Em Bb13
R&B example
Roman numerals: IIIm IIm IV IIIm IIm
C major chords: Em Dm F Em Dm
F major chords: Am Gm Bb Am Gm
G major chords: Bm Am C Bm Am
Rock example
Roman numerals: I V VIm IIIm IV I V
C major chords: C G Am Em F C G
F major chords: F C Dm Am Bb F C
G major chords: G D Em Bm C G D

Assignment 2
Try playing them on guitar
Rock example:
I – V – VIm – IIIm – IV – I – V
Original key:
Eb - Bb - Cm - Gm - Ab - Eb - Bb
C major:
C - G - Am - Em - F - C - G
F major:
F - C - Dm - Am - Bb - F - C
G major:
F - C - Dm - Am - Bb - F - C

Day 8
Original Chord Progressions

Original chord progressions
Using tonic, sub-dominant, and dominant
Tension and release
Consonance and dissonance
Tonic = Home base, resolved
Dominant = Tension, needs to be resolved
Sub-dominant = In between
II and IV = Sub-dominant V and VII = Dominant
I, III, and VI = Tonic
Applied to most common pop chord progression (I V vim IV)
I
V
VIm
IV
TONIC (release) DOMINANT (tension) TONIC (release) SUB-DOMINANT (slight tension)

AssigNment 1
Creating your own original chord progressions
Tonic = C, Em, Am
Sub-dominant = Dm, F
Dominant = G, Bdim
Original chord progression 1
Tonic Dominant Sub-dominant Tonic
Original chord progression 2
Tonic Dominant Tonic Sub-dominant
More original chord progressions
Make them longer (4, 8, or 16 bars
Try two or more chords per ba
Try creating two or three different sections (verse, chorus, bridge
Play them on the guitar to understand the sound and adjust accordingly

AssigNment 2
Transpose to F and G
Progression 1
C major (original key):
F major:
G major:
Progression 2
C major (original key):
F major:
G major:

Day 9
What is Rhythm?

what is rhythm
Review of beat/pulse and meter (level 1, day 3)
Pulse/beat
Meter
4
3
4 4
Top number = how many
Bottom number = type of rhythm

4/4 “Common time”
The most common meter

subdivisions
Whole notes
Half notes
pulse or beat Quarter notes

in 4/4 and
3/4 time
Eighth notes
Sixteenth notes
Half-note triplets
Quarter-note triplets
Eighth-note triplets

Beats per minute
(BPM) - tempo
Example
Hip hop= 60-100 bpm
Drum & bass (DnB)= 160-180 bpm
Metronome:
“Pro Metronome”

Assignments
Assignment 1
Guess the BPM (beats per minute) of various songs
“Lips” – Marian Hill https://www.youtube.com/watch?v=8-FUkhVtveU
“Doo-Wop (That Thing)” – Lauryn Hill https://www.youtube.com/watch?v=T6QKqFPRZSA
Lips = 89BPM Doo-Wop = 100BPM
Assignment 2
Practice major and minor scales with a metronome pulse

Day 10
Whole, Half, and Quarter Notes

Whole, Half, and Quarter Notes
Review of grid from day 9
Whole notes
Half notes
Quarter notes
What they look like in music notation

Clapping demonstrations
100bpm
1 2 3 4
1 2 3 4
1 2 3 4
Metronome trick
100 (50, 25, 12.5

Metronome on beats 2 & 4, beat 2 only, 3 only, or 4 only

Assignment 1
Clapping exercises with metronome
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Assignment 2
Clapping exercises with songs
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Assignment 3
Experimenting on the guitar

Day 11
Eighth and Sixteenth Notes

Eighth and sixteenth notes
Review of grid from Day 9
Eighth notes
Sixteenth notes
Single Multiple consecutive

Clapping Demonstrations
60bpm
1 & 2 & 3 & 4 &
1 e & a 2 e & a 3 e & a 4 e & a
Metronome trick
60 (30, 15

Assignment 1
1 & 2 & 3 & 4 & 1 2 3 4 1 & 2 & 3 & 4 & 1 2 3 e&a 4 e &a

Assignment 2
1 2 3 4 1 & 2 & 3 4 1 2 3 4 e&a 1 & 2 3 4

Assignment 3

Day 12
Triplets

Triplets
Half, quarter, and eighth
Review of grid from Day 9
Half-note triplets
Quarter-note triplets
Eighth-note triplets

Clapping Demonstrations
60bpm
1 trip - let 2 trip - let 3 trip - let 4 trip - let
1 2 1 2 1 2 1 2 1 2 1 2
1 2 3 4 1 2 3 4 1 2 3 4
Metronome trick
60 (30, 15

Assignment 1
1 2 3 4 1 trip-let 2 trip-let 3 4 1 2 3 4 1 trip-let 2 trip-let 3 4

Assignment 2
1 trip-let 2 trip-let 3 trip-let 4 trip-let 1 & 2 & 3 & 4 & 1 2 3 4 1 2 3 4

Assignment 3

Day 13
Case Studies

Case Studies
Triplets (riffs and chords)
“If I Ain’t Got You” – Alicia Keys
“Hold the Line” – Toto
“What a Wonderful World” – Louis Armstrong
16th notes (riffs and chords)
“Neon” – John Mayer
“Girls Like You” – Maroon 5
“Play That Funky Music” – Wild Cherry
“Uptown Funk” – Mark Ronson ft. Bruno Mars
“Sex Machine” – James Brown
“Kiss” – Prince
8th notes (riffs and chords)
“Three Little Birds” – Bob Marley (reggae)
“Yesterday” (intro) – The Beatles
“Hey There Delilah” – Plain White Tees
“Stairway to Heaven” – Led Zeppelin (eighth notes)
“Clocks” – Coldplay (eighth notes)

Assignment 1
Look at your list of songs (from level 1, day 7 - genre),
then try to work out their fundamental subdivisions

Assignment 2
Create your own triplet, 16th-note,
and/or 8th-note musical ideas

Day 14
Summary and Assignments

Recap
Chords, chord progressions,
the numbers system, rhythm basics
Quiz
Can you explain how triads are built?
Can you explain how seventh chords are built?
Can you name the chords in a I-VI-II-V in the keys of C, F, and G?
Can you convert numbers to chords and chords to numbers?
What are the dominant, sub-dominant, and tonic chords in the key
of C major?
Can you explain the subdivisions of whole, half, quarter, eighth,
sixteenth, and triplet rhythms?

Assignment 1
SongSquad
“Flat White” | Quentin Angus

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Level 2.

Music Theory Bootcamp | LEvel 2

Notes Dyads Triads

Music Theory Bootcamp | LEvel 2

Triads (C and Dm)

Assignment (E? F?)

Assignment (remaining chords)

Music Theory Bootcamp | LEvel 2

Notes Name Abbr.

C-D Major second/whole step/tone M2

C-E Major third M3

C-F Perfect fourth P4

C-G Perfect fifth P5

C-A Major sixth M6

C-B Major seventh M7

Music Theory Bootcamp | LEvel 2

Compose with ‘D’ drone

Compose with ‘A’ drone

Music Theory Bootcamp | LEvel 2

Intro to the Numbers System

Music Theory Bootcamp | LEvel 2

Diatonic = scale degrees

I IIm IIIm IV V VIm VIIdim

Music Theory Bootcamp | LEvel 2

I IIm IIIm IV V VIm VIIdim I

I IIm IIIm IV V VIm VIIdim I

I IIm IIIm IV V VIm VIIdim I

Music Theory Bootcamp | LEvel 2

i - iiim IIm iv vim - v

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

I IIm IIIm IV V VIm VIIdim I

Review of chord voicings

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

I V VIm IV IIIm IIm I

Music Theory Bootcamp | LEvel 2

Learn chords in different positions

3. Write more original progressions

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

Create an original chord progression in

C major using your new suspended chord shapes.

Experiment with different ways

to play the triads you’ve learned so far.

Music Theory Bootcamp | LEvel 2

Music Theory Bootcamp | LEvel 2

Dyads Triads Seventh chords

Common in jazz, not so common in popular music

C major 7th C dominant 7th C minor 7th

Music Theory Bootcamp | LEvel 2

8fr. 1 2 8fr. 1 1 1 8fr. 2 3 3 3

3fr. 1 3fr. 1 1 3fr. 1 1

Music Theory Bootcamp | LEvel 2

Case Study 1: (“Valerie” - Amy Winehouse)

Case Study 2: (“Sex Machine” - James Brown)

Case Study 3: (“Happy” - Pharrell Williams)

Music Theory Bootcamp | LEvel 2

Create an original progression using 7th chords

Music Theory Bootcamp | LEvel 2