The_Complete_Idiot%27s_Guide_To_Music_Theory

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110 Part 3: Tunes Exercise 8-3 Compose an eight-measure melody in the key of C, using the C Major scale, in 4/4 time. Use whole notes, half notes, quarter notes, and eighth notes; and begin and end your melody on the C note. Exercise 8-4 Compose an eight-measure melody in the key of F, using the D minor scale, in 3/4 time. Use half notes, quarter notes, and eighth notes; and begin and end your melody on the D note. Exercise 8-5 Compose an eight-measure melody in the key of G, using the G Major scale, in 4/4 time. Make this a rhythmically lively melody at a relatively fast tempo, using half notes, quarter notes, eighth notes, and sixteenth notes.
Chords In This Chapter ◆ Understanding major, minor, diminished, and augmented triads ◆ Extending chords to sevenths, ninths, and beyond ◆ Creating altered, suspended, and power chords ◆ Inverting the chord order ◆ Writing chords into your music Lesson 6, Track 41 9 Chapter More often than not, music is more than a single melodic line. Music is a package of tones, rhythms, and underlying harmonic structure. The melody fits within this harmonic structure, is dependent on this harmonic structure, and in some cases dictates the harmonic structure. The harmonic structure of a piece of music is defined by a series of chords. A chord is a group of notes played simultaneously, rather than sequentially (like a melody). The relationships between the notes—the intervals within the chord— define the type of chord; the placement of the chord within the underlying key or scale defines the role of the chord. This chapter is all about chords—and it’s a long one, because there are many, many different types of chords. Don’t let all the various permutations scare you off, however; at the core, a chord is nothing more than single notes (typically separated by thirds) played together. It’s as simple as that. If you can play three notes at the same time, you can play a chord. This chapter, then, shows you how to construct many different types of chords, with a particular emphasis on the type of harmonic structure you find in popular music. (This is important; the study of harmony in classical music is much more involved, with a slightly different set of rules.) And, when you’re done reading this chapter, you can find a “cheat sheet” to all the different chords in Appendix B. This appendix is a quick yet comprehensive reference to every kind of chord imaginable—in every key!
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Music Theory Second Edition by Mich
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Contents at a Glance Part 1: Tones
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Contents Part 1: Tones 1 1 Pitches
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Finding Your Way ..................
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Instrumental Solo .................
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Good Keys and Bad Keys ............
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During the summer of 2001, I taught
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xvi The Complete Idiot’s Guide to
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xviii The Complete Idiot’s Guide
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xx The Complete Idiot’s Guide to
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xxii The Complete Idiot’s Guide t
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Pitches and Clefs In This Chapter
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Some instruments produce a broader
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If you’re reading ahead and want
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Notes on a Piano Keyboard A good wa
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Above—and Below—the Staff The b
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The grand staff looks like this: Th
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Exercises Exercise 1-1 Write the na
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Intervals In This Chapter ◆ Chang
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Two half steps equal one whole step
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Major and Minor Intervals When you
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Beyond the Octave You don’t have
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And take special note of those inte
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Scales In This Chapter ◆ Putting
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The Intervals of the Major Scale No
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Tip When you’re playing a piece o
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Scale Notes D minor D-sharp minor E
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Scale Notes E minor F minor F-sharp
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Scale Notes F minor F-sharp minor G
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The Intervals of the Ionian Note Ha
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F Lydian mode is relative to the ke
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B Locrian is relative to the key of
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Major and Minor Keys In This Chapte
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Key Key Signature and Scale D Major
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Same as This Scale Notes Major Key
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Accidents Will Happen When you assi
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How to change to the key of C. The
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2 Part Rhythms You don’t have to
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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
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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 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
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Interval Song-Specific Phrase Major
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many measures long the melody is, a
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Exercises Exercise 12-1 Play each o
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Accompanying Melodies In This Chapt
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A chord sheet—no melody. Working
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Block Chord Accompaniment The easie
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The benefit of this approach is tha
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Once you’ve figured out the chord
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14 Chapter Transposing to Other Key
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These scenarios are more common tha
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The chord progression transposed to
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or hold to their original pitches.
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5 Part Embellishing Discover how to
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188 Part 5: Embellishing Note This
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190 Part 5: Embellishing A common c
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192 Part 5: Embellishing Making Har
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194 Part 5: Embellishing Definition
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196 Part 5: Embellishing The lower
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198 Part 5: Embellishing Avoid exte
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200 Exercises Part 5: Embellishing
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Chord Substitutions and Turnarounds
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Altering the Bass Here’s another
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Replacing the I chord (C Major) wit
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Substitution Example (for the G7 ch
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Turnaround Example (in C) I-♭III-
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Exercise 16-6 Add a two-measure tur
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216 Part 5: Embellishing Definition
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218 Part 5: Embellishing Tip If you
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220 Part 5: Embellishing What’s c
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222 Part 5: Embellishing Exercise 1
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18 Chapter Composing and Arranging
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Voice Range (Concert Pitch) Write I
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Brass Brass instruments typically a
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Transposition Range Sounds Instrume
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listed (they’re grouped by family
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Instrument Range (Concert Pitch) Wr
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Instrument Range (Concert Pitch) Wr
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Exercises Chapter 18: Composing and
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Lead Sheets and Scores In This Chap
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Make It Simple Even simpler than th
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A typical chord sheet. Chapter 19:
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A four-part choral arrangement. Jaz
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A score for big band. Note A marchi
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A score for full orchestra. Chapter
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Today, thanks to computer technolog
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The Least You Need to Know ◆ Lead
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Performing Your Music In This Chapt
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That means you need to know a littl
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3 1 Conducting in three. Finding th
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Just because you’re done with thi
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The Complete Idiot’s Music Glossa
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The Complete Idiot’s Music Glossa
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key A combination of a tonic and a
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pitch The highness or lowness of a
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transposition Translating pitch. tr
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276 Appendix B
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Answers to Chapter Exercises Here a
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Exercise 2-3 Exercise 2-4 Exercise
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Chapter 4 Answers to Chapter Exerci
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Exercise 5-7 Exercise 5-8 Chapter 6
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Exercise 9-7 Exercise 9-8 Chapter 1
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Exercise 14-2 Exercise 14-3 Exercis
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Exercise 17-7 Chapter 18 Exercise 1
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294 Appendix D 11. Lesson Two: Inte
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296 Appendix D 31. A 32. C 33. G 34
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298 Appendix D Scale Exercises (Tra
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300 Appendix D Melody Exercises (Tr
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302 Appendix D Chord Exercises (Tra
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Index Symbols/Numbers I chord, 130-
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preparations, 257-258 rehearsal rou
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Lydian mode, 40-41 lyrics melodies,
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performing music, conducting 2/2 ti
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tacet (dynamic marking), 83 tempo,
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The_Complete_Idiot%27s_Guide_To_Music_Theory

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