The_Complete_Idiot%27s_Guide_To_Music_Theory

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126 Part 3: Tunes Exercise 9-3 Write the following major chords on the staff. Exercise 9-4 Write the following minor chords on the staff. Exercise 9-5 Name the following extended chords. Exercise 9-6 Write the following extended chords on the staff. Exercise 9-7 Write the first and second inversions of the following chords. Exercise 9-8 Resolve the following suspended chords by lowering the suspended note (the middle note of the chord) to the note a half step below.
Chord Progressions In This Chapter ◆ Understanding scale-based chords ◆ Learning the rules of chord leading ◆ Figuring out how to end a progression ◆ Discovering the most common chord progressions 10 Chapter ◆ Fitting chords to a melody—and a melody to a chord progression In Chapter 9, you learned how to group notes together to form chords. Individual chords alone are interesting, but they become really useful when you string them together to form a succession of chords—what we call a chord progression. These chord progressions provide the harmonic underpinning of a song, “fattening out” the melody and propelling the music forward. Of course, to create a chord progression that sounds natural, you can’t just string a bunch of chords together willy-nilly. Certain chords naturally lead to other chords; certain chords perform distinct functions within a song. You have to use your chords properly, and arrange them in the right order, to create a piece of music that sounds both natural and logical. Chord progressions don’t have to be complex, either. The simplest progressions include just two or three chords—which are easy enough for any beginning guitarist to play. How many songs, after all, do you know that use only the G, C, and D chords? (A lot, I bet.) Those three chords comprise one of the most common chord progressions—which should show you how easy all this is. Chords for Each Note in the Scale To better understand the theory behind chord progressions, you need to understand that you can create a three-note chord based on any of the seven notes of a major key or scale. You start with the note of the scale (one through seven) as the root of the chord; then build up from there in thirds—using only the notes within the scale.
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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
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60 Part 2: Rhythms Definition A not
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62 Part 2: Rhythms How to count var
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64 Part 2: Rhythms Tip Another way
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66 Part 2: Rhythms Exercise 5-4 Wri
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68 Part 2: Rhythms Note Classical m
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70 Part 2: Rhythms When you have an
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72 Part 2: Rhythms Tip In most musi
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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 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
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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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