musictheory.net – Classic Edition
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Lessons The Staff, Clefs, and Ledger LinesNote DurationMeasures and Time SignatureRest DurationDots and TiesSimple and Compound MeterOdd Meter Steps and AccidentalsThe Major ScaleThe Minor ScalesScale DegreesKey SignaturesKey Signature Calculation Generic IntervalsSpecific IntervalsWriting IntervalsInterval Inversion Introduction to ChordsTriad InversionDiatonic TriadsRoman Numeral AnalysisVoicing ChordsAnalysis #1 Seventh ChordsDiatonic Seventh ChordsSeventh Chord Inversion Composing with Minor ScalesNonharmonic TonesPhrases and CadencesCircle ProgressionsCommon Chord ProgressionsTriads in First InversionTriads in Second InversionAnalysis #2 Building Neapolitan ChordsUsing Neapolitan ChordsAnalysis #3
Trainers Note TrainerKey TrainerInterval TrainerTriad Trainer Keyboard TrainerGuitar TrainerBrass Trainer Interval Ear TrainerScale Ear TrainerChord Ear Trainer
Utilities Chord CalculatorStaff Paper GeneratorMatrix Generator
For visitors using a screen reader, accessible versions of the lessons are available:
Screen Reader Lessons The Staff, Clefs, and Ledger LinesNote DurationMeasures and Time SignatureRest DurationDots and TiesSimple and Compound MeterOdd Meter Steps and AccidentalsThe Major ScaleThe Minor ScalesScale DegreesKey SignaturesKey Signature Calculation Generic IntervalsSpecific IntervalsWriting IntervalsInterval Inversion Introduction to ChordsTriad InversionDiatonic TriadsRoman Numeral AnalysisVoicing ChordsAnalysis #1 Seventh ChordsDiatonic Seventh ChordsSeventh Chord Inversion Composing with Minor ScalesNonharmonic TonesPhrases and CadencesCircle ProgressionsCommon Chord ProgressionsTriads in First InversionTriads in Second InversionAnalysis #2 Building Neapolitan ChordsUsing Neapolitan ChordsAnalysis #3
Translations of the classic lessons are available in the following languages:
British English The Staff, Clefs, and Ledger LinesNote DurationBars and Time SignatureRest DurationDots and TiesSimple and Compound MeterOdd Meter Whole Tones, Semitones and AccidentalsThe Major ScaleThe Minor ScalesScale DegreesKey SignaturesKey Signature Calculation Generic IntervalsSpecific IntervalsWriting IntervalsInterval Inversion Introduction to ChordsTriad InversionDiatonic TriadsRoman Numeral AnalysisVoicing ChordsAnalysis #1 Seventh ChordsDiatonic Seventh ChordsSeventh Chord Inversion Composing with Minor ScalesNonharmonic NotesPhrases and CadencesCircle ProgressionsCommon Chord ProgressionsTriads in First InversionTriads in Second InversionAnalysis #2 Building Neapolitan ChordsUsing Neapolitan ChordsAnalysis #3
Íslenska (Icelandic) Nótnastrengurinn, lyklar og aukalínurLengdargildiTaktar og taktboðarLengdargildi þagnaLengdar nótur og tengibogarEinfaldar og samsettar takttegundirÓreglulegar takttegundir Heiltónn, hálftónn og formerkiDúr tónstiginnMoll tónstigarSætisnöfn tónstigansFöst formerki TónbilAð fullgreina tónbilRitun tónbilaTónhvörf Hljómar – inngangurHljómhvörfHeimaþríhljómarSætisnúmer þríhljómaHljómsetningHljómgreining 1 SjöundarhljómarHeimasjöundarhljómarHljómhvörf sjöundarhljóma Tónsmíðar í mollSpennurHendingar og niðurlögFimmundartengslAlgengar hljómatengingarSexundarhljómarFersexundarhljómarHljómgreining 2 NapólíhljómurinnNotkun NapólíhljómsinsHljómgreining 3
Français (French) La Portée, les Clefs et les Lignes supplémentairesLa Durée des NotesLes Mesures et la Signature TemporelleLes SilencesLes Points et les LiaisonsMesures Simples et Mesures ComposéesLes Mesures Irrégulières Tons, Demi-tons et AltérationsLa Gamme MajeureLes Gammes Mineures
Polski (Polish) Pięciolinia, klucze i linie dodaneCzas trwania nutyTakty i oznaczenie taktoweCzas trwania pauzyKropki i łukiMetrum proste i złożoneMetrum nieparzyste Całe tony, półtony i znaki chromatyczneGama majorowa (durowa)Gamy molowe (minorowe)Stopnie gamy (skali)Obliczanie znaków przykluczowych Interwały podstawoweInterwały przekształconePisanie interwałówPrzewroty interwałów Podstawowe informacje o akordachPrzewroty trójdźwiękówTrójdźwięki diatoniczneAnaliza trójdźwięków metodą cyfr rzymskichGamowłaściwe (diatoniczne) akordy septymowePrzewroty akordów septymowych
Svenska (Swedish) Notsystemet, klaver och hjälplinjerNotvärdenTakter och taktarterPauserPunkteringar och överbindningar Tonsteg och förteckenDurskalanMollskalornaSkalstegFasta förteckenRäkna ut tonarten GrundintervallIntervall IISkriva intervallOmvändning av intervall Introduktion till ackordTreklanger i omvändningSkalegna treklangerStegteoriStämföringAnalys #1 SeptimackordSkalegna septimackordOmvändningar av septimackord
Português Brasileiro (Brazilian Portuguese) Pauta, Claves e Linhas SuplementaresValores das NotasCompasso e Fórmula de CompassoValores das PausasPontos e LigadurasCompasso Simples e CompostoCompasso Alternado Tom, Semitom e AlteraçõesA Escala MaiorAs Escalas MenoresGraus da EscalaArmadurasCálculo da Armadura Intervalos GenéricosIntervalos EspecíficosNotação dos IntervalosInversão de Intervalos Introdução aos AcordesInversão de TríadesTríades DiatônicasAnálise por algarismos romanosAbertura de AcordesAnálise Número 1 Acordes de SétimaAcordes de Sétima DiatônicosInversão de Acordes de Sétima Compondo com Escalas MenoresNotas Estranhas à HarmoniaFrases e CadênciasProgressões em CírculoProgressões Harmônicas ComunsTríades em Primeira InversãoTríades em Segunda InversãoAnálise Número 2 Formando Acordes NapolitanosUsando Acordes NapolitanosAnálise Número 3
Српски (Serbian) Нотни систем, кључ и помоћне линијеТрајање нотаТакт, ознака тактаТрајање паузаТачка и лигатураПрости и сложени метарНепарни метар Цео степен, полустепен и предзнациДурска лествицаМолске лествицеИмена ступњева лествицеПредзнаци тоналитетаИзрачунавање предзнака тоналитета Генерички интервалиСпецифични интервалиЗаписивање интервалаОбртаји интервала Увод у акордеОбртаји трозвукаЛествични трозвуциОбележавање римским бројевимаВођење гласоваАнализа #1 СептакордиЛествични септакордиОбртаји септакорада Компоновање са молским лествицамаВанхармонски тоновиФразе и каденцеКружни хармонски токовиУобичајени хармонски токовиТрозвуци у првом обртајуТрозвуци у другом обртајуАнализа #2 Грађење наполитанских акорадаКоришћење наполитанских акорадаАнализа #3
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