Tunes wrote on February 17, 2023
In my opinion, this course struck a perfect balance: excellent examples of each technique with just enough details to give one really useful insights, without bogging one down in too much info. One can see each concept put in to practice (sometimes with several examples) and from there, one can easily jump into incorporating the techniques into one’s own composing. So important! Each video was efficient and quick, giving one just the right amount of information to digest. I highly recommend the course!
David Marshall wrote on January 27, 2023
Let me say at the outset that this is an excellent course. When I think of the wide range of possible "students", it has to be recognised that Gregg Fine has done an excellent job. It's also exceptional value if bought at the library members discount, which I intend to do. Because this is not a "one-off" course. The exercises are invaluable and worthy of returning to repeatedly as months and years pass.
But it may not be a course for all beginners. There is a clear indication of this in the "technical" language Gregg uses, that also expresses an expectation that you will have some comprehesion of the tempered keyboard, and of degrees and intervals of the chromatic and popular diatonic scales, and in some sections, the construction of triads and 7th chords. That is, if you want to get the most out of it. But if you are a beginner and you choose to ignore the more technical aspects and just embrace learning the different "timbres", you should find it enlightening, and worth your time as it should enrich your appreciation of modes and scales. You could return to it later when you have a little more technical understanding.
So could it be improved? Whilst it may be part of a wider curriculum programme, it is offered as a stand-alone course and for that reason alone it would benefit from placing it in some context, not just in a text introduction but in some kind of initial discovery activity, to get the student on the right "wavelength" and to "demystify" maybe even "revise" some of notions embraced by the course.
Following that idea of "discovery" activity I think it would also have benefited from a "listening list" of pieces used to illustrate the various scales and modes - just references of recorded pieces to which to listen, and why. Together with a suggestion for continued self-study listening - aided by a bit of systematic advice on how to choose pieces for listening and systematically reviewing the advice already given for determining the differences between different scales and modes.
All of that said, if you understand language like "augmented" & "diminished", and know the difference between a minor and major third then I recommend this course without reservation. I really enjoyed it, and have adopted a number of new practice routines based on Gregg's advice. I've always sung a song melody as a means of getting comfortable with a piece - before I do anything else. Now I sing in moveable solfedge and use a Korg VPT-1 vocal pitch trainer to "tune-up" my ear. And into my daily routine I've added a few minutes of practice firming up my "feeling" for different intervals using different instruments; piano, guitar, feadóg.
I'm 73 this year, and have been playing a wind instrument since I was 8, performing since I was 10, and playing guitar since I was 12. I'm not a professional but consider myself a competent amateur. Even so I found Gregg could teach me a thing or two. I'm now the proud owner of a DAW and desk strewn with MIDI peripherals and Ableton Live 11 Standard... I guess I'll be following Gregg's course on that next. I've a few memories, ideas and tunes in my head I want to express and now have a useful understanding of the palette of timbres available to me from a range of scales and modes.
Thanks Gregg... great course.
Neil Gilmartin wrote on September 8, 2022
Gregg's music theory courses are the real deal - and somehow they manage to be fun, too. This one was no exception. I was already familiar with most concepts in this course, but I haven't needed to read music in two decades, so it was very good review. Moreover, the practice that is provided on rhythm, in particular more complex rhythms incorporating unusual note value and rest combinations, was fantastic.
Neil Gilmartin wrote on August 30, 2022
Gregg Fine is a fantastic educator. This course is entertainingly delivered and will provide guitar players with transferable ideas on how to set up their amps and pedalboards. Non-guitar-players who use guitar in their DAW should also find some valuable ideas here. Great to see you back on the site, Gregg!
Steve Kirk wrote on August 2, 2022
Perfect! Just what you need if you want to compose jazz and don't know where to start. Great work Greg.
Guven wrote on July 7, 2022
A very good course with a solid knowledge base for beginners. Recommended.
Dada Drew wrote on July 2, 2022
Greg Fine’s courses are excellent
Neil Gilmartin wrote on June 3, 2022
Been a while now since I did this course, but I really enjoyed it. Gregg presents things in such an engaging and simple way, it's impossible not to enjoy the course. If you want to learn music theory without feeling like you're learning music theory, Gregg's courses are as good as it gets.
Neil Gilmartin wrote on June 1, 2022
Love Gregg's ear training series. 101 and 102 are definitely the most useful of the three - 103 feels a bit like sweeping up all the left-over pieces - but it's still very good. In particular, I found the material on triplets and swing really helpful. Gregg makes ear training fun, interactive, and colorful. Love your style, Gregg :-)
Neil Gilmartin wrote on March 26, 2022
I actually completed this course - and Guitar Production 202 - to get a better understanding of using Logic's Pedalboard. It's great and has helped me a lot in gaining a better understanding of how to use Pedalboard in conjunction with Amp Designer. I love all of Gregg's courses, and this was no exception.