Hey everyone!

The music theory teacher in me wanted to create a review video on just about every topic you would possibly encounter in an AP Music Theory course or an undergraduate music theory program that focuses on tonal harmony.

My hope is that you find this to be an excellent resource to review some of the most important concepts that you need to understand in music theory.

If you enjoy this video, please like, comment, and subscribe to my page! Also, be sure to share this video with anyone who might find it beneficial and useful!

Have a V–I day!
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*This video mainly follows and outlines the “Tonal Harmony” textbook, which I highly recommend.
Here is the order of the topics presented in this video:

Introduction ~ 0:00
Tonal Harmony ~ 0:37
Elements of Pitch ~ 2:01
The Major Scale ~ 6:10
Major Key Signatures and Circle of Fifths ~ 10:09
Minor Scales and Minor Key Signatures ~ 14:46
Relative Keys ~ 19:29
Scale Degree Names ~ 23:57
Intervals ~ 26:06
Inversion of Intervals ~ 31:29
Elements of Rhythm ~ 35:29
Time Signatures ~ 38:18
Other Rhythm Concepts ~ 42:15
Tempo ~ 45:13
Triads and Seventh Chords ~ 45:39
Chord Inversions ~ 47:56
Figured Bass (*Correction: I meant to say "G is a sixth above B" when discussing the 6/3 inversion.) ~ 50:36
Recognizing Chords ~ 54:11 (*Note: The new way that I teach the chart of thirds is by using a circle of thirds. The problem with my initial chart is that if you were trying to identify something like an Fmajor triad, you would need to extend the chart by rewriting A and C on the top. Using a circle means that the 7 letters will keep cycling infinitely. Write the same 7 letters around a circle going clockwise; after the notes of the chord you are trying to identify are circled, look for the first circled letter when going clockwise to identify the root.)
Diatonic Triads ~ 56:23
Diatonic Seventh Chords ~ 1:00:40
The Melody Line ~ 1:03:07
Notating and Voicing Chords ~ 1:06:19
Motion ~ 1:09:02
Parallel Motion (*Correction: The last Roman Numeral should be a V.) ~ 1:10:09
RootPosition Part Writing ~ 1:13:22
Transpositions ~ 1:17:58
Sequences ~ 1:20:27
Harmonic Progression ~ 1:22:46
Harmonizing a Simple Melody ~ 1:27:39
Triads in First Inversion ~ 1:31:11
Triads in Second Inversion ~ 1:33:55
Cadences ~ 1:36:18
Phrases, Periods, and Sentences ~ 1:39:03
Texture ~ 1:42:15
Counterpoint ~ 1:43:11
Composing an Unembellished Bass Line ~ 1:45:11
Composing a Counterpoint to a Bass Line ~ 1:47:15
Contrapuntal Motion ~ 1:49:50
Nonchord Tones (*Correction: Appoggiaturas are typically accented, so for the example that I gave (assuming it is in common time), it would be better if the G was a half note that is harmonized by a Gmajor chord, and then the chord changes to C major on the third beat.) ~ 1:51:51
The V7 Chord ~ 1:56:47
Other Diatonic Seventh Chords ~ 2:00:38
Secondary Dominants ~ 2:04:09
Secondary Dominants (Examples) ~ 2:09:25
Secondary LeadingTone Chords ~ 2:12:57
Secondary LeadingTone Chords (Examples) ~ 2:15:00
Other Secondary Function Concepts ~ 2:18:36
Modulation and Key Relationships ~ 2:21:05
CommonChord Modulation ~ 2:24:43
Other Modulatory Techniques and Chromatic Mediants ~ 2:28:15
Larger Forms ~ 2:31:39
Popular Music ~ 2:37:17
Mode Mixture ~ 2:41:40
The Neapolitan Chord ~ 2:45:06
Tritone Substitution ~ 2:47:48
Augmented Sixth Chords ~ 2:50:01
Enharmonic Spellings and Modulations ~ 2:53:03
Additional Harmonic Possibilities ~ 2:56:22
CommonTone Diminished Seventh Chords ~ 2:59:10
Mediants ~ 3:00:26
Advanced Concepts of Tonal Harmony (*Correction: The noteheads on the final beat of the omnibus should not be touching because stems need to align.) ~ 3:02:12
Introduction to PostTonal Music ~ 3:06:42
The Diatonic Modes ~ 3:08:19
The Diatonic Modes (Examples) ~ 3:10:17
Other PostTonal Scales (*Correction: The fifth note of the Cminor pentatonic scale should be a B♭, not an A♭.) ~ 3:12:30
PostTonal Chord Structures ~ 3:14:52
Other PostTonal Music Concepts ~ 3:16:59
PostTonal Rhythm and Meter ~ 3:19:07
Outro ~ 3:23:50