The_Complete_Idiot%27s_Guide_To_Music_Theory

Recommendations

Info

x The Complete Idiot’s Guide to Music Theory, Second Edition Making Harmony Parts More Melodic ..........................................192 Voice Leading ................................................................................192 Making a Point—with Counterpoint ............................................194 Creating Your First Counterpoint ..................................................195 What to Avoid ................................................................................198 Avoid Extended Parallel Movement ..............................................198 Avoid Big Leaps ............................................................................198 Avoid Dissonant Intervals—Unless They Resolve ............................199 16 Chord Substitutions and Turnarounds 203 Extending a Good Thing ..............................................................203 Altering the Bass ............................................................................205 Two Chords Are Better Than One ................................................205 One Good Chord Can Replace Another ......................................206 Diatonic Substitution ....................................................................206 Major Chord Substitutions ............................................................207 Minor Chord Substitutions ............................................................207 Dominant Seventh Substitutions ....................................................208 Functional Substitutions ................................................................209 Turnarounds ....................................................................................210 17 Special Notation 215 Throwing a Curve ..........................................................................215 Ties ..............................................................................................215 Slurs ............................................................................................216 Phrases ..........................................................................................216 The Long and the Short of It ........................................................217 Tenuto ..........................................................................................217 Staccato ........................................................................................217 When Is a Note More Than a Note? ............................................217 Grace Notes ..................................................................................217 Turns ............................................................................................218 Trills ............................................................................................218 Glissandos ....................................................................................219 Arpeggiated Chords ......................................................................219 Getting Into the Swing of Things ................................................219 Getting the Word ..........................................................................220 Part 6: Arranging 223 18 Composing and Arranging for Voices and Instruments 225 Vocal Arranging ..............................................................................225 Voice Characteristics ......................................................................226 Vocal Ranges ..................................................................................226 Instrumental Arranging ..................................................................227 Instrument Characteristics ............................................................227 Transposition ................................................................................230
Good Keys and Bad Keys ................................................................232 Instrumental Ranges ....................................................................232 19 Lead Sheets and Scores 241 Follow the Rules ............................................................................241 Take the Lead ..................................................................................242 Make It Simple ................................................................................243 Chord Sheets ................................................................................243 The Nashville Number System ......................................................243 Sing It Loud ....................................................................................243 Jazz It Up for Big Bands ................................................................247 Strike Up the (Concert) Band ........................................................248 Make the Big Score—for the Symphonic Orchestra ....................252 Use the Computer ..........................................................................252 20 Performing Your Music 257 Preparing the Parts ........................................................................257 Rehearsal Routines ..........................................................................258 How to Conduct Yourself ..............................................................258 Conducting in Four ......................................................................259 Conducting in Two ........................................................................260 Conducting in Three ......................................................................260 Finding the Beat ..........................................................................261 Practicing in the Real World ..........................................................261 Coda ................................................................................................262 Appendixes A The Complete Idiot’s Music Glossary 265 B The Complete Idiot’s Chord Reference 275 C Answers to Chapter Exercises 279 D The Complete Idiot’s Guide to Music Theory, Second Edition, Ear Training Course CD 293 Index 305 Contents xi
Page 3 and 4: Music Theory Second Edition by Mich
Page 5 and 6: Contents at a Glance Part 1: Tones
Page 7 and 8: Contents Part 1: Tones 1 1 Pitches
Page 9 and 10: Finding Your Way ..................
Page 11: Instrumental Solo .................
Page 16 and 17: During the summer of 2001, I taught
Page 18 and 19: xvi The Complete Idiot’s Guide to
Page 20 and 21: xviii The Complete Idiot’s Guide
Page 22 and 23: xx The Complete Idiot’s Guide to
Page 24 and 25: xxii The Complete Idiot’s Guide t
Page 27 and 28: Pitches and Clefs In This Chapter
Page 29 and 30: Some instruments produce a broader
Page 31 and 32: If you’re reading ahead and want
Page 33 and 34: Notes on a Piano Keyboard A good wa
Page 35 and 36: Above—and Below—the Staff The b
Page 37 and 38: The grand staff looks like this: Th
Page 39 and 40: Exercises Exercise 1-1 Write the na
Page 41 and 42: Intervals In This Chapter ◆ Chang
Page 43 and 44: Two half steps equal one whole step
Page 45 and 46: Major and Minor Intervals When you
Page 47 and 48: Beyond the Octave You don’t have
Page 49 and 50: And take special note of those inte
Page 51 and 52: Scales In This Chapter ◆ Putting
Page 53 and 54: The Intervals of the Major Scale No
Page 55 and 56: Tip When you’re playing a piece o
Page 57 and 58: Scale Notes D minor D-sharp minor E
Page 59 and 60: Scale Notes E minor F minor F-sharp
Page 61 and 62: Scale Notes F minor F-sharp minor G
Page 63 and 64:
The Intervals of the Ionian Note Ha
Page 65 and 66:
F Lydian mode is relative to the ke
Page 67 and 68:
B Locrian is relative to the key of
Page 69 and 70:
Major and Minor Keys In This Chapte
Page 71 and 72:
Key Key Signature and Scale D Major
Page 73 and 74:
Same as This Scale Notes Major Key
Page 75 and 76:
Accidents Will Happen When you assi
Page 77 and 78:
How to change to the key of C. The
Page 79:
2 Part Rhythms You don’t have to
Page 82 and 83:
58 Part 2: Rhythms Taking the Measu
Page 84 and 85:
60 Part 2: Rhythms Definition A not
Page 86 and 87:
62 Part 2: Rhythms How to count var
Page 88 and 89:
64 Part 2: Rhythms Tip Another way
Page 90 and 91:
66 Part 2: Rhythms Exercise 5-4 Wri
Page 92 and 93:
68 Part 2: Rhythms Note Classical m
Page 94 and 95:
70 Part 2: Rhythms When you have an
Page 96 and 97:
72 Part 2: Rhythms Tip In most musi
Page 98 and 99:
74 Part 2: Rhythms Exercises Exerci
Page 101 and 102:
Tempo, Dynamics, and Navigation In
Page 103 and 104:
Italian Tempo Terms Tempo Means …
Page 105 and 106:
When you see a fermata, hold the no
Page 107 and 108:
Two accent marks and a marcato. Mor
Page 109 and 110:
Another navigation technique uses a
Page 111 and 112:
writing lots of individual measures
Page 113:
3 Part Tunes Discover how to put to
Page 116 and 117:
92 Part 3: Tunes The complete melod
Page 118 and 119:
94 Part 3: Tunes The melody for Bac
Page 120 and 121:
96 Part 3: Tunes Definition A passi
Page 122 and 123:
98 Part 3: Tunes A four-measure mel
Page 124 and 125:
100 Part 3: Tunes A simple four-not
Page 126 and 127:
102 Part 3: Tunes Note Ironically,
Page 128 and 129:
104 Part 3: Tunes Simplifying a rhy
Page 130 and 131:
106 Part 3: Tunes You can achieve t
Page 132 and 133:
108 Part 3: Tunes Note See Chapter
Page 134 and 135:
110 Part 3: Tunes Exercise 8-3 Comp
Page 136 and 137:
112 Part 3: Tunes Note The notes of
Page 138 and 139:
114 Part 3: Tunes Note In this and
Page 140 and 141:
116 Part 3: Tunes Chord Extensions
Page 142 and 143:
118 Part 3: Tunes Minor seventh cho
Page 144 and 145:
120 Part 3: Tunes Seventh, ninth, a
Page 146 and 147:
122 Part 3: Tunes Note In classical
Page 148 and 149:
124 Part 3: Tunes Changing chords i
Page 150 and 151:
126 Part 3: Tunes Exercise 9-3 Writ
Page 152 and 153:
128 Part 3: Tunes Let’s use the k
Page 154 and 155:
130 Part 3: Tunes Note These exampl
Page 156 and 157:
132 Part 3: Tunes Let’s put toget
Page 158 and 159:
134 Part 3: Tunes Note In classical
Page 160 and 161:
136 Part 3: Tunes I-ii-IV-V This pr
Page 162 and 163:
138 Part 3: Tunes Note The blues pr
Page 164 and 165:
140 Part 3: Tunes Old Johann was ab
Page 166 and 167:
142 Part 3: Tunes Writing a Melody
Page 168 and 169:
144 Part 3: Tunes Exercise 10-5 Cre
Page 170 and 171:
146 Part 3: Tunes Parts of a Song W
Page 172 and 173:
148 Part 3: Tunes Tip When you have
Page 174 and 175:
150 Part 3: Tunes ◆ Mass A vocal
Page 176 and 177:
152 Part 3: Tunes Exercises Exercis
Page 179 and 180:
12 Chapter Transcribing What You He
Page 181 and 182:
Listening—Actively Before we get
Page 183 and 184:
Hearing Intervals Lesson 2, Track 1
Page 185 and 186:
Interval Song-Specific Phrase Major
Page 187 and 188:
many measures long the melody is, a
Page 189 and 190:
Exercises Exercise 12-1 Play each o
Page 191 and 192:
Accompanying Melodies In This Chapt
Page 193 and 194:
A chord sheet—no melody. Working
Page 195 and 196:
Block Chord Accompaniment The easie
Page 197 and 198:
The benefit of this approach is tha
Page 199 and 200:
Once you’ve figured out the chord
Page 201 and 202:
14 Chapter Transposing to Other Key
Page 203 and 204:
These scenarios are more common tha
Page 205 and 206:
The chord progression transposed to
Page 207 and 208:
or hold to their original pitches.
Page 209:
5 Part Embellishing Discover how to
Page 212 and 213:
188 Part 5: Embellishing Note This
Page 214 and 215:
190 Part 5: Embellishing A common c
Page 216 and 217:
192 Part 5: Embellishing Making Har
Page 218 and 219:
194 Part 5: Embellishing Definition
Page 220 and 221:
196 Part 5: Embellishing The lower
Page 222 and 223:
198 Part 5: Embellishing Avoid exte
Page 224 and 225:
200 Exercises Part 5: Embellishing
Page 227 and 228:
Chord Substitutions and Turnarounds
Page 229 and 230:
Altering the Bass Here’s another
Page 231 and 232:
Replacing the I chord (C Major) wit
Page 233 and 234:
Substitution Example (for the G7 ch
Page 235 and 236:
Turnaround Example (in C) I-♭III-
Page 237:
Exercise 16-6 Add a two-measure tur
Page 240 and 241:
216 Part 5: Embellishing Definition
Page 242 and 243:
218 Part 5: Embellishing Tip If you
Page 244 and 245:
220 Part 5: Embellishing What’s c
Page 246 and 247:
222 Part 5: Embellishing Exercise 1
Page 249 and 250:
18 Chapter Composing and Arranging
Page 251 and 252:
Voice Range (Concert Pitch) Write I
Page 253 and 254:
Brass Brass instruments typically a
Page 255 and 256:
Transposition Range Sounds Instrume
Page 257 and 258:
listed (they’re grouped by family
Page 259 and 260:
Instrument Range (Concert Pitch) Wr
Page 261 and 262:
Instrument Range (Concert Pitch) Wr
Page 263 and 264:
Exercises Chapter 18: Composing and
Page 265 and 266:
Lead Sheets and Scores In This Chap
Page 267 and 268:
Make It Simple Even simpler than th
Page 269 and 270:
A typical chord sheet. Chapter 19:
Page 271 and 272:
A four-part choral arrangement. Jaz
Page 273 and 274:
A score for big band. Note A marchi
Page 275 and 276:
A score for full orchestra. Chapter
Page 277 and 278:
Today, thanks to computer technolog
Page 279 and 280:
The Least You Need to Know ◆ Lead
Page 281 and 282:
Performing Your Music In This Chapt
Page 283 and 284:
That means you need to know a littl
Page 285 and 286:
3 1 Conducting in three. Finding th
Page 287 and 288:
Just because you’re done with thi
Page 289 and 290:
The Complete Idiot’s Music Glossa
Page 291 and 292:
The Complete Idiot’s Music Glossa
Page 293 and 294:
key A combination of a tonic and a
Page 295 and 296:
pitch The highness or lowness of a
Page 297:
transposition Translating pitch. tr
Page 300 and 301:
276 Appendix B
Page 303 and 304:
Answers to Chapter Exercises Here a
Page 305 and 306:
Exercise 2-3 Exercise 2-4 Exercise
Page 307 and 308:
Chapter 4 Answers to Chapter Exerci
Page 309 and 310:
Exercise 5-7 Exercise 5-8 Chapter 6
Page 311 and 312:
Exercise 9-7 Exercise 9-8 Chapter 1
Page 313 and 314:
Exercise 14-2 Exercise 14-3 Exercis
Page 315:
Exercise 17-7 Chapter 18 Exercise 1
Page 318 and 319:
294 Appendix D 11. Lesson Two: Inte
Page 320 and 321:
296 Appendix D 31. A 32. C 33. G 34
Page 322 and 323:
298 Appendix D Scale Exercises (Tra
Page 324 and 325:
300 Appendix D Melody Exercises (Tr
Page 326 and 327:
302 Appendix D Chord Exercises (Tra
Page 329 and 330:
Index Symbols/Numbers I chord, 130-
Page 331 and 332:
preparations, 257-258 rehearsal rou
Page 333 and 334:
Lydian mode, 40-41 lyrics melodies,
Page 335 and 336:
performing music, conducting 2/2 ti
Page 337 and 338:
tacet (dynamic marking), 83 tempo,
show all

The_Complete_Idiot%27s_Guide_To_Music_Theory

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?