The_Complete_Idiot%27s_Guide_To_Music_Theory

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160 Part 4: Accompanying Intervals Found in Popular Melodies (continued) Interval Song-Specific Phrase Major third “Have Yourself a Merry HAVE YOUR-self a merry little Little Christmas” Christmas … “Oh When the Saints Come Marching In” OH WHEN the saints … Perfect fourth “Here Comes the Bride” HERE COMES the bride … “Amazing Grace” A-MAZ-ing grace … “We Wish You a Merry Christmas” WE WISH you a merry Christmas … Tritone “Maria” (from West Side Story) MA-RI-a … Perfect fifth Theme from Goldfinger GOLD-FIN-ger … “My Favorite Things” (from The Sound of Music) RAIN-DROPS on roses … “Twinkle Twinkle Little Star” TWINKLE TWINKLE little star … Chant of the Wicked Witch’s guardsmen in The Wizard of Oz YO-EE-oh … Minor sixth “Sunrise, Sunset” (from Fiddler on the Roof ) IS THIS the little girl … Major sixth “NBC” chime N-B-C (first two notes) “Jingle Bells” DASH-ING through the snow … “It Came Upon the Midnight Clear” IT CAME upon the midnight clear … Minor seventh “There’s a Place for Us” (from West Side Story) THERE’S A place for us … Theme from Star Trek Doo-doooo … (first two notes) Major seventh “Cast Your Fate to the Wind” (first two notes of the melody) “Somewhere Over the Rainbow” SOME-where O-ver the rainbow … Octave “Somewhere Over the Rainbow” SOME-WHERE over the rainbow … “A Christmas Song” CHEST-NUTS roasting on an open fire … DESCENDING Minor second “Joy to the World” JOY TO the world, the Lord is (Christmas carol) come … “Spinning Wheel” (Blood, Sweat and Tears) RIDE A painted pony …
Interval Song-Specific Phrase Major second “Three Blind Mice” THREE BLIND mice … “Mary Had a Little Lamb” MA-RY had a little lamb … “Yesterday” (The Beatles) YES-TERDAY, all my troubles seemed so far away … Minor third “Jesus Loves Me” JE-SUS loves me this I know … “Hey Jude” (The Beatles) HEY JUDE … Major third “Swing Low, Sweet Chariot” SWING LOW, sweet chariot … “Good Night Ladies” (from The Music Man) GOOD NIGHT ladies … “Summertime” (from Porgy and Bess) SUM-MER-time, and the livin’ is easy … Perfect fourth “Born Free” BORN FREE … “My Girl” (The Temptations) MY GIRL, talkin’ ’bout my girl … Tritone European police siren Perfect fifth Theme from FLINT-STONES, meet the The Flintstones Flintstones … “Feelings” FEEL-INGS, whoa, whoa, whoa, feelings … Minor sixth Theme from Love Story WHERE DO I begin … Major sixth “Over There” O-VER there … “Nobody Knows the Trouble I’ve Seen” NO-BOD-y knows … Minor seventh “Watermelon Man” Water-MEL-on MAN Major seventh “Have Yourself a Merry So HAVE YOUR-self a merry little Little Christmas” Christmas now … Octave “Salt Peanuts” (Dizzy Gillespie) Salt PEA-NUTS, salt peanuts … Exercise your interval memory the same way you did your tonal memory. Start by listening to a song and picking two adjacent notes in the melody—the first two notes are often the best to work with. Wait a few seconds; then try to sing the two notes. Verify your accuracy by playing the song again. Once you can internalize the interval, try to determine what interval it is that you’re singing. Is it a second? A third? Is it major or minor? Determine the interval, and then try to reproduce the interval on your instrument. Once you can accurately play the interval, you can verify the specific interval you guessed. (For example, if you find yourself playing a G and then a B, you know you’re playing a major third.) Chapter 12: Transcribing What You Hear 161
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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
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Tempo, Dynamics, and Navigation In
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Italian Tempo Terms Tempo Means …
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When you see a fermata, hold the no
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Two accent marks and a marcato. Mor
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Another navigation technique uses a
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writing lots of individual measures
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3 Part Tunes Discover how to put to
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92 Part 3: Tunes The complete melod
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94 Part 3: Tunes The melody for Bac
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96 Part 3: Tunes Definition A passi
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98 Part 3: Tunes A four-measure mel
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100 Part 3: Tunes A simple four-not
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102 Part 3: Tunes Note Ironically,
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104 Part 3: Tunes Simplifying a rhy
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106 Part 3: Tunes You can achieve t
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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: Hearing Intervals Lesson 2, Track 1
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
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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
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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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