Music Theory Distilled - Part 2: Harmony

This a bare-bones rapid introduction to the basics of music theory. The focus is on the useful aspects that any musician can apply in the real world. Clear visual aids are used.
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Part 1:    • Music Theory Distilled - Part 1: Melody  

You may be interested in Choosing Chords for a Melody:    • Choosing Chords for a Melody  

NOTE: THESE VIDEOS MOVE QUICKLY. They are meant to fill a perceived gap in the youtube music theory video pantheon for rapid/efficient transmission of the basics. Hence the pacing is fast and examples are few. They might move too quickly to serve as a clear intro to theory from a single viewing; they were intended to act as a kind of rapid reference rather than a solid course. Hopefully if you re-watch and pause/rewind as needed they can be more useful for you.

0:00 intervals
1:58 chords
2:08 harmonization of a scale
4:28 applying harmonization to absolute pitch names
6:02 chord voicings
6:48 naming chords with color notes
8:46 chord progressions and melodies
9:55 these are not rules
10:19 approaching a new piece of music, etc.
11:20 begging for money

Errata:

#1: the "root of the scale" is more properly known as the "tonic". "Root" is in fairly common usage to refer to the first scale note, but is more properly used in the context of chords.

#2: regarding intervals, the terms "major" and "minor" apply to the second, sixth, and seventh as well. See: https://en.wikipedia.org/wiki/Interva...

#3: at 4:48 I spell a C# scale. A traditional scale spelling convention states that there shouldn't be two of the same letter note in a scale. In this case my spelling includes a C and a C#, as well as an F/F# pair. If I wanted to use C# as the tonic, the traditional spelling would use "B#" instead of C, and "E#" instead of F, but these note names confuse beginners, since "there is nothing between B and C", etc. I should have either labeled the scale Db major (which avoids this issue by spelling the scale Db-Eb-F-Gb-Ab-Bb-C-Db) or used a different scale altogether. It doesn't affect the theory or practice at all, but if you pursue the reading/writing of music, this convention comes in to play.

#4 - at 1:50 I mistakenly state that a "diminished third" is the same as a minor third: it is not; a "diminished third" is the same as a second; it can be thought of as the diminished form of a minor third. Similarly, a "diminished seventh" is a diminished form of a minor seventh, hence the same as a sixth.