音楽理論をより実践の演奏で活かす為のカリキュラム。あらゆるジャンルやスタイルの演奏に順応し、応用する能力を身に付けます。

カリキュラムの進行目安です。
下記内容と照らし合わせてご覧ください。

音楽理論概要

A１.音楽概論(Major Key１)

A１-１.基礎音楽知識(楽譜と音価、指板と鍵盤での理解)

A１-２.Major ScaleとKeyの理解

A１-３.Interval反応

A２.音楽概論(Major Key２)

A２-１.Rhythm(Syncopation, Anticipation, Delayed Attack)

A２-２.拍子

A２-３.Score Reading/Score Writing

A３.音楽概論(Minor Key)

A３-１.Minor Keyの考え方

A３-２.平行調とScale Tendencies

A４.音楽概論(Blues Key)

A４-１.Blues概要(歴史、特徴)

A４-２.Triplets(Shuffle Rhythm)

A４-３.Blue Notes(特徴音)

A５.音楽概論(Tonal Context)

A５-１.Range/Low Interval Limit

A５-２.Line Cliche/Pedal Point

A６.音楽概論(Key Change, Scale Change)

A６-１.Trancepose/Modal Interchange

A６-２.Modulation

A６-３.関係調/五度圏

コード理論

B１.Major Key Chord 理論１

B１-１.Major Key Diatonic Chords(Triads, 7th Chords)

B１-２.Major Key Chords Progression(Tonic, Sub Dominant, Dominant)

B１-３.Major Key Chords Progression(Root Motion, 小節の捉え方)

B２.Major Key Chord 理論２

B２-１.Secondary Dominant Chords

B２-２.Related Ⅱm7(Ⅱ-Ⅴの理論)

B２-３.Extended Dominant

B３.Minor Key Chord 理論

B３-１.Natural Minor Scale Diatonic Chords

B３-２.Harmonic Minor Scale Diatonic Chords

B３-３.Minor Key Chord Progression(Tonic, Sub Dominant, Dominant)

B３-４.Mordal Interchange Major/Minor

B４.Blues Chord 理論

B４-１.Blues Chord Progression Rule

B４-２.Dominant Blues/Minor Blues/Jazz Blues

B４-３.Blue Note Tension Chord

B４-４.Blues 派生コード

B４-５.Add Blue Note Chords

B５.Tonal Context Chord 理論

B５-１.Suspended 4th/6th Chord/Add Tension Chord/Fifth Chord

B５-２.#Ⅳm7(b5)/bⅡMaj7

B５-３.Jazz Chord 理論(Substitute Dominant/rel Ⅱm7/relⅡm7(b5))

B５-４.Diminished Chord(Passing Diminished/SubⅤ7 Diminished/Ⅰdim7, Ⅴdim7)

B５-５.Inversion Chord/Hybrid Chord

B５-６.Upper Structure Triads

B６.Modal Inter Change, Modulation 理論

B６-１.Modulation Chord Analyse

B６-２.Tonic Cycle System(2Tonic Cycle/3Tonic Cycle/4Tonic Cycle/6Tonic Cycle)

スケール理論

C１.Major Key Scale 理論１

C１-１.Chord Tone/Non-Chord Tone(Tension, Avoid Note)

C１-２.Major Pentatonic Scale(Scale Character)

C１-３.Chord Progressionに対してのApproach(Characteristic Note)

C２.Major Key Scale 理論２

C２-１.Chord Scaleの発想(Mode Scale)

C２-２.Dominant Scale Chord Scale/Altered Scale

C２-３.Secondary Dominant Chord Scale/Phrygian Dominant, Mixilydian b6

C２-４.Ⅱ-ⅤでのChord Scale/Extended Dominant Scale

C３.Minor Key Scale 理論

C３-１.Natural Minor Chord Tone/Non-Chord Tone(Tension, Avoid Note)

C３-２.Harmonic Minor Chord Tone/Non-Chord Tone(Tension, Avoid Note)

C３-３.Minor Key Chord Scale

C３-４.Major/Minor Scale Tendencies

C４.Blues Scale 理論

C４-１.Blues Pentatonic Scale

C４-２.Blues Scale(add#4)

C４-３.Add Blue Note Scale

C４-４.Scale Approach Technic

C４-５.Major Blues Scale

C５.Tonal Context Scale 理論

C５-１.Lydian b7 Scale/Locrian Natural 6th

C５-２.Symmetric Diminished Scale/Tonality Diminished Scale

C５-３.Symmetric Dominant Scale/Whole Tone Scale

C５-４.Jazz Chord Phrase

C６.Modal Interchange, Modulation Scale 理論

C６-１.Scale Change/Key Change

C６-２.Tetratonic Scale

C６-3.Bebop Scale

D.Modal Context理論
E.Contemporary

D-１.Modal Context(Scale Only/Modal Harmony/Non-Character Chord)

D-２.Scale Character(Characteristic Note/Scale Tendencies)

D-３.Mode Scale From Major Scale

D-４.Modal Harmony

D-５.Modal Context(Non-Chord)

D-６.Modal Context(Voicing In 4th&Pedal Point)

D-７.Mode From Harmonic Minor Scale

D-８.Mode From Melodic Minor Scale

D-９.Mode From Harmonic Major Scale

E-１.Traditional Scale

E-２.Symmetric Scale

E-３.Modes of Limited Tranceposition

E-４.拡張 Minor Key

E-５.拡張 Modal Interchange

E-６.Contemporary Music