Learn music theory in half an hour.

hey it's injure WOM just a little bit of context for this video it is a complete walkthrough of the basics of music theory in half an hour also sprinkled throughout are some exercises that you can do that will help you internalize these concepts because once they're in here once they're natural to how you operate it's like a superpower you'll be able to come up with more ideas you'll be able to work faster the things that are in your head you'll just be able to do it's magic I love music theory I'm a huge nerd I

actually made this video as a piece of bonus content for my online class which you can find out more about at learn monthly calm slash Andrew I just wanted to have this there so that all the students would have the same foundation before heading into the rest of the course which is much more about music production and songwriting and mixing and that kind of thing but when I finish putting this lesson together it really felt like a great thing to just share for free on YouTube a crash course on music theory so I hope it's

helpful for you and if you're interested in a 20 lesson course about my whole approach to music making more info about that at learn monthly comm slash Andrew here's the theory lesson so what is music theory it's essentially the language behind music it gives you the tools you need to understand and interpret and communicate about music everyone in this class is mastered talking whatever your home language is it's second nature to you now you can use it without thinking about it and it's an incredibly powerful way to interpret the world around you and communicate with

other people relate to them express yourself music theory does the same thing for music it'll help you understand how chords and notes and rhythms and melodies all work together and as you get good at the language you're able to use it really effectively without thinking about it I hear from a lot of people that they get stuck in this place with music theory where it feels like it's just work and it's really cerebral and it's all about what key am I in and what chord is this and what scale should I be using and I

really want to stress that there is a place beyond that where if you use it enough it becomes as natural and fluid as talking I know that when you're talking you're not thinking about do I use past tense or present tense or like what is the word for this very common item that I use every day you're a natural at it you just look at this and your brain goes up it's a cat with enough experience you can absolutely get to that same level of natural automatic use of music theory similarly with language sometimes we

come across a word or a concept that we don't know but we can learn it if it's explained to us using the words and the concepts that we already do understand in music if I come across something really advanced that I don't understand it's the music theory fundamentals that allow me to figure it out and learn it and add it to my arsenal so we're gonna start right at the beginning and talk about notes what is a note well sound is made up of vibrations and our ears and brains are really good at interpreting those

vibrations when the vibrations are faster we hear them as being higher and when the vibrations are slower we hear them as being lower if the vibrations happen at a consistent rate then we perceive them as having a consistent pitch or frequency or a note so for example if I play this guitar string it's vibrating it's physically moving back and forth in this case a hundred and ten times per second and that's quickly traveling through the air and reaching our ears and we perceive that as the note a now in case you aren't aware the vast

majority of popular music is made using only twelve notes almost all the music you've ever heard is made up of these twelve notes and how they relate to each other because as a culture we've discovered that that generally sounds better than frequencies that don't relate together in that way and there are actually mathematical ratios that explain why all those relationships sound good together but for the purposes of this course we don't need to get into that we've given the notes names so it's easy to refer to them and the names relate to the layout of

a piano keyboard so the white notes are named a through G [Music] the Black Keys are named relative to the white keys with the words sharp and flat sharp means higher and flat means lower so for example with this note it's above an F so it's an F sharp but it's also below this G so in some situations you'd call it a G flat as you can see there are a lot more than just twelve keys on this keyboard but the same notes actually repeat themselves higher and lower that's the one mathematical ratio that I'll

get into here and it's actually kind of fascinating but our brains can tell when a vibration is twice as fast as another one it sounds like the same note if I play an A here and an A here it's the same but one's higher and ones lower it's crazy and by the way this distance of going twelve notes up or down to the next identically named note is called an octave the increment between each individual note is called a semitone or a half-step and the increment between two half steps is called a whole step or

a whole tone or a tone so music is then built on the relationships between these notes and there are common combinations of notes that we call a key not to be confused with the word key when we're referring to a piano key a key is sort of like a guide of what notes will sound good together in a piece of music and most pieces of music use only one key if you remember when I said most songs don't even use all twelve notes most commonly they would use seven and that's because there are seven notes

in major and minor keys which are the most common keys so let's look at an example of a key the easiest one is C major because it uses all the white notes so when I play the notes out like that that's called the C major scale and the word scale and key are often used interchangeably but for your knowledge a key is more like the home base group of notes that a song is based on and a scale is a set of notes that you would play in conjunction with that so a lot of times

you're playing the exact scale that matches the key that you're in but sometimes depending on the flavor that you want or the genre that you're working with you'll use a different scale over your home key so for example a lot of blues music is written in a major because that's like the standard tuning of a guitar but blues solos typically happen with the e blues scale or a pentatonic minor scale those scales have some of the same notes as a major but some that are different and that's what imparts the bluesy flavor but let's look

at the C major scale again and the relationships between the notes so if we're in the key of C we call C the root note and that's the note that we start the scale on notice that as we go up the scale the notes have a spacing of whole whole half whole whole whole half starting here you go up two up two up one up two up two up two and up one whole whole half whole whole whole half that is the formula of a major scale so if your song is in C major you'll

know that these are the notes that you'll mostly or maybe exclusively use because they'll sound better than the notes that aren't in C major it's also common practice and really helpful to number the notes of the scale starting with one at the root so if C is our 1 then D would be our 2 or the second degree or just the second e would be the 3 or the third degree or the third and so on practice applying the major scale formula to a few different notes remember that the spacing between the notes in the

major scale is whole whole half whole whole whole half so for example if you picked a major you would start on a and you would move up a whole tone so skip one and then play the next that's B then another whole tone skip one play the next that's c-sharp then just a half tone D another whole tone skip one play the e another whole tone skip the F play the f-sharp another whole tone skip the G play the G sharp and then finally another half tone to get back up to a also practice identifying

the notes both using the absolute letter names that go with them as well as the numbered scale degrees that go with each key that you're in in a major scale each letter name appears exactly once no matter how many accidentals there are accidentals meaning a sharp or a flat so to name the notes in an a major scale we would start on a and go up alphabetically from there ABCD efg and of course G is the last letter that we use in music so be wrapped back around to an A over here but we also

have to add sharp to the names of the Black Keys C sharp F sharp and G sharp so it's a B C sharp d e F sharp G sharp a so even though these notes are C sharp F sharp and G sharp because they're a half step above C F and G they're also a half step below D G and a so you could call them D flat G flat and a flat in a major we use the sharp names for these notes that way each letter name appears exactly once in the scale and it

makes it easier to remember and communicate about these notes as opposed to if we use the flat names and then the scale was a B B flat D she flat a flat egg where you have skips between the letters and some of them repeat twice so to name the notes in the major scale you start at the root note and go up alphabetically and that's how you know whether to name the Black Keys as sharps or flats in a couple of special cases you might even name white keys sharp or flat for instance if you

wrote in a sharp major your second note a whole tone up would be this which is a C but in a sharp major we would call it a B sharp because of this a lot of people prefer to refer to this key as b-flat which reduces the confusion of needing to use a sharp name on a white key I know this is a lot of information so don't worry if it takes you a little bit to get the hang of it but that's also exactly why practice is important naming the scale degrees is much easier

obviously the root note you picked is the first degree and then you just count up for each consecutive note in the scale so an a major a is the first degree B is the second C sharp is the third D is the fourth he is the fifth f-sharp is the sixth and G sharp is the seventh so the next big piece of the puzzle for working with notes and making music sound good is chords chords are just multiple notes played at the same time they do most of the work of setting the emotion in the

song and guide the listener through some kind of musical story since chords are made up of notes and notes are in keys chords are almost always in the same key if you randomly play a bunch of notes from C major you're playing some kind of chord from C major the most common chords contain three notes that have a very specific relationship to each other and we call that the root third and fifth so in C major I can play the root C the third of C major E and the fifth of C major G and

that gives us a C major chord root third fifth you can think of this as playing a note from the scale skipping a note from the scale playing a note from the scale skipping a note from the scale and then playing another note from the scale this type of chord is also called a triad now we can take this triad shape and move the root so that it's any other note from C major and we'll get another chord from C major [Applause] so since this court starts on F it's an F chord but here's where

we need to get a little fluid with our lingo because the root of an F chord is f the third is a and the fifth is C but we're still in the key of C major where C is the root and F is the fourth in relation to C and a is the sixth in relation to see don't worry if this is confusing right now it's the kind of thing you get the hang of the more you use it but it's definitely helpful to get used to the numbered relationships within chords as well as how

they relate to the overall key so there are two really common chord types in music and that's major and minor people usually say major sounds happy and minor sounds sad but there's actually a very specific relationship that makes up these chords if you take a chord like c e g that sounds happy and it is indeed a major chord and look at how the notes are spaced out we start on c we go up four three four to e and then we go up three one two three - G so the first two notes are

four semitones apart and the next two notes are three semitones apart that's the formula for a major triad for then three major if a chord is three then four its minor so in this case if we change the e to an e-flat we've got C minor so major and minor scales actually have a really tight-knit relationship we say that every major scale has a relative minor scale so if we look at C major and play that scale [Music] just moving that down three semitones to an a gives us the relative minor and playing the same

notes but starting on an a gives us the a natural minor scale [Music] so the relative minor always starts on the sixth degree of the relative major now going back to the key of c-major if you experiment with moving your triad shape around and you end up with the triad that starts on B you'll notice that's a three then three and that's a diminished chord and it's used so much more rarely compared to major and minor that we're just not going to get into it right now but it's there choose a few different major scales

and practice making triads out of the first second third fourth fifth and sixth degrees so for example in a major I would start on a skip the next note in the scale play the next note in the scale skip the next note in the scale and then play the next note in the scale that makes an a major chord the second degree chord will be B minor so you're playing the second degree of the a major scale skipping the next note in the E major scale playing the next note in the E major scale skipping

the next note and playing the next note B D F sharp B minor and that's how you'll go up and construct all the main triads from a major also practice naming each chord name both the root note and whether the chord is major or minor so going back to a major our first triad sounds happy and has a as its root which means it's a major the second triad sounds sad and it has B as its root making it B minor remember you can also identify major and minor by the spacing of the notes major

is four then three so if we start on a and go up four one two three four we get C sharp up three one two three we get e so a sharp E that's an a major chord if we change that to three then for a one two three gets us to see one two three four gets us back to that e so AC e is a minor once you can identify all the first through sixth degree triads in a key you have an amazing starting point for creating songs you can even just pick three

or four of those triads at random play them in a row and bam you have a nice sounding chord progression [Music] so these scale degrees the numbers that we've been using are really handy because they help us understand how notes and chords function within a key and they're also used as a shorthand for discussing chord progressions they help us understand how chords relate to each other relatively rather than absolutely so if you look at any major scale where you see again as an example the Triads are major minor minor major major minor diminished we don't

need to finish so looking at the chord starting on degrees one through six of a major scale it's always major minor minor major major minor there's a common shorthand where you write these down using Roman numerals the number indicates the degree of the scale and capitals are used for major chords while lowercase is used for minor let's look at another example with a specific chord progression one five six four so if we're in C major it's one C 5 G a minor is the six and F is the four one five six four it has

a certain emotional quality to it and we can replicate that now in any key because we can think one five six four in that key so for example in G we'll go one g 5 D 6 e minor and 4 C same progression different key now you may have noticed that both of these chord progressions contain both a C major and a G major chord but in each key those chords function totally differently in C major C is the root and G is the fifth in G major G is the root and C is the

fourth as you use chords more often you'll start to get familiar with what the degrees are in relationship to certain keys and as you use the degrees more you'll start to understand how the chords function you'll know there's a certain sound when a 2 goes to a 5 or you'll understand the sense of yearning that a 4 can convey by thinking about chords and notes as scale degrees rather than just the letter names you're able to transcend the key that you're in and use what you learn in all keys for example if you only think

about the letters and you find a chord progression you really like like let's say e f-sharp minor a you don't have any way to convert that to another key but if you think about that as 1 to 4 now you can understand how that could be played in any key you could do 1 to 4 and D 1 to 4 na and this is useful not only when you're creating music but also when you're learning from other songs if you can understand these scale degrees and decipher the songs that you listen to you'll start to

notice patterns after all you only have these first through 6 scale degrees that almost every song is using to build their chords on so you'll probably start to notice I really like songs that are around the 4 5 & 6 or I'm not really a fan of the flavor of a 3 going to a 5 by using this number system you really allow so much more musical knowledge to accumulate and compound practice creating chord progressions based on numbers pick a random key and random number sequences between 1 and 6 and practice playing those chord progressions

so for an example I'm gonna pick a key that we haven't seen in this lesson yet how about a flat major the 1st through 6th degree chords are a flat major f minor G minor a flat major B flat major and C minor so now if we pick random sequences of numbers between 1 and 6 we can play them as chord progressions so how about 5 6 4 4 about 4 3 2 1 how about that example from earlier in the lesson one five six four also practice the ciphering keys and scale degrees look up

the chords to a song that you like you can usually just google song name + chords and see if you can figure out what key it's in with our triads we've covered the really important chord fundamentals but I also want to talk about inversions so that's when you change the position of one or more notes in the chord so that the root is no longer the lowest so if we look at C major c EG has c at the bottom but what if we move it to the top EG c or GCE these are the

same notes so it's still a C major chord it's just inverted this is handy because with chord progressions it often sounds better to find inversions that have the notes closer together rather than what we were doing before moving the triad shape all around so for instance we played that one six five four and g g d E minor C why don't we move some of those chords around while we make some of them into inversions so that the notes are closer together and maybe we can find something that's easier to play and that sounds better

so I think I'm still gonna start with this G triad this is called first inversion now to move to a D next I think instead of playing it up here with this f-sharp an a I'm gonna move both of those down to this octave and play this D so now we're going from G to D this D stays the same and the B moves to an a the G moves to an f-sharp it's a really nice movement from G to D in that inversion now from the D we want to go to an E minor

and I think the most natural thing to do would be for these notes to move back up to G and B because those notes are an E minor and then we'll play this a up here [Music] that's probably the most natural movement from this inversion of D to go to an E minor so our whole progression right now is and from this Imai nur to go to a see it's super easy because again a minor and C share two of the same notes so we just need to move this B to a C and so

now our chord progression which before sounded like this has become this it's nicer it sounds more natural and it'll also fit better with other instruments as they all occupy a bit more of a consistent range for themselves another thing about inversions is that they'll subtly change the flavor of a chord and we can emphasize this by reinforcing the lowest notes of our chords so for instance let's stay in G let's play a one to four so G to C with the added lower octave but what if I use G in second inversion with the B

at the bottom of the G chord to move to that C now if we reinforce that with the lower notes [Music] I've always really loved that flavor of a one moving to a four but having the third of the one in the base [Music] try making a few different chord progressions and this time use inversions so that they're a little closer together and not just the same shape moving up and down the keyboard [Music] you now have the knowledge necessary to pick a key by picking a root and out and finding the other notes in

that key using the formula for the major scale you're able to make chords out of those notes and you're also able to call those chords by they're numbered names and make chord progressions the next step is to look at melodies which are single sequences of notes played with the chords usually above them this is usually the thing that you would sing along to in a song but even in instrumental music there's usually some kind of lead melodic part that's the most interesting and the thing that's the most memorable for people to create a melody you

already have all the raw ingredients you can just start stringing together notes that are in the key that you're in overtop of a chord progression but there is a really interesting interplay between what notes you're playing over which chords a lot of it has to do with tension versus stability and whether the note in your melody is a note that's in the chord that's currently playing melodies that only use notes that match the chords are usually pretty bland and it tends to be more interesting to use some notes that are outside the chord typically these

are passing notes so notes that are in between two notes that are in the chord you you can even have a melody where none of the notes are part of the chords that they're played with [Applause] but that's pretty uncommon and typically you are playing with this tension and release of involving melody notes that are part of the chord and not part of the chord as one little tip often you would end on a note that's within the chord rather than ending on a note that's not in the chord another little shortcut to melodies that

mostly sound good is if you use the major pentatonic scale so if we look at C major and we remove the fourth and seventh degrees so that's F and B then we just have this and if you play melodies with those notes over chords from C major typically it'll sound pretty good that's because overall those notes are the most stable over most of the chords pick a key and create a chord progression in that key then record that into your music software once you have that try to play some melodies over it thinking about what

notes are in the court that's currently playing and maybe some that aren't but that can resolve two notes that are in the chord also try removing the fourth and seventh degrees from your major scale to make a major pentatonic scale and then try playing melodies using that scale you might find that it's even easier to get something sounding good for a quick example of finding a major pentatonic scale why don't we look at the key of F the notes there are F G a B flat C D E so if we number those it's one

two three four five six seven B flat is the four e is the seven we'll take that out of our scale leaving us with F a CD that is the F major pentatonic scale [Music] the last component of theory fundamentals is rhythm and how to count it how do you tell when things are played whether that's chords or melodies or drum beats that's based on the musical counting system music is divided into equal sized portions called bars or measures and typically in western music you'll have 4 beats to a measure which we count 1 2

3 4 so if one note is the length of a bar we'd call it a whole note if it's 2 beats which is half of the bar we call it a half note and then each of those 4 notes that we were counting as beats in the bar are quarters of the bar those are quarter notes so you can have sounds instruments whatever playing on these beats or anywhere in between them and if something is on the beat then we would say it's on the 1 for example but if it's in between these beats then

we need to do what's called subdividing which is like increasing the resolution of our counting if we subdivide beats in half we count it as one and two and three and four and and those ends are exactly halfway in between each of those beats so now that resolution is eighth notes we can subdivide further again getting exactly halfway in between our main beats and our ands so that would be 1 e and a 2 e and a 3 E and a 4 E and a so that puts us at 16th notes and even though you

can keep on subdividing forever the main parts of songs are usually not played any faster than sixteenth notes and this really is a pretty universal system in western music if you're talking to anybody who's had some music education and you say something is on the TUI they'll probably know what you're talking about so getting used to using this counting system will allow you to play music better because you'll be able to better feel where you are within the beats it'll also allow you to interpret and decipher and remember different kinds of rhythmic material because it

gives you a structure for those rhythms to live in so let's say you're out and about and you get an idea or you hear something that you want to try but you can't actually make it right then you can make a quick note of it using this kind of rhythmic note let's say we had a bead idea that was like we could jot that down into this number system I've made this one a little pretty for the video but you can do this really quickly freehand I do that all the time so I've got kick

snare and a hat here and then a grid of sixteen spaces lining up with our one-e-and-a two-e-and-a three-e-and-a four-e-and-a bats well I know that the snare is on the end of one and the four I know there's a kick on one so it's gonna do two and three and then the high hats are 1e and a 2e I think it's on the 2e that's yeah yeah that's our bead idea and the first few times you do this you might have to really slow it down and be counting along really deliberately and finding those beats and

where they line up to what you want to do but as you do this more and more you'll get way better at it you'll get way faster at it you'll just know what it feels like to be on certain beats and you'll know how to make note of your ideas or again this grid is just like your dog you'll know how to input those beats into your dog really quickly for practice take a song that you like and select an element like one line of melody or a drum beat and see if you can write

out its rhythm using this basic sixteenth note notation [Music] [Music] all right I know that's a lot to take in definitely try to make some time for those practice exercises and of course come back to this video as much as you want to use it as reference if you're interested in videos like this but about writing and producing and recording and mixing and mastering I have a very comprehensive interactive online class that runs a few times a year again you can learn more about that at learn monthly calm slash andrew music theory is the best

I'll see you in the next video